As Kang Chun Meng presents his first recital as a graduate student at the Yong Siew Toh (YST) Conservatory of Music, he will be doing more than presenting a performance. He is quietly making history. His presence in the conservatory’s Master of Music programme marks a rare moment for an instrument that is often overlooked in formal music education, both in Singapore and around the world.
He recognises the significance of this moment. “It is truly a historical event as this is the first time ever that a Euphonist is part of the Master of Music programme in the conservatory,” he says.
The unfamiliarity of the Euphonium in a conservatory setting means he has had to approach his studies differently from most musicians. “As the instrument is rather new to the conservatory environment, I’m very delighted to be involved in the planning process as well, from setting my own goals to crafting a whole new semestral requirement with the help of several wonderful mentors.”
What has stood out for him at YST is the richness of the artistic environment. “The most impactful part of studying in YST is the amount of resources I can tap into, being able to consult different instrumental lecturers throughout the semester and even collaborating across different disciplines.” These experiences, he notes, have shaped him into a more holistic musician. “It has definitely helped me to grow not just as an instrumentalist but also as an artist of my own craft.”
His sound world extends far beyond traditional Euphonium writing.
“As an artist, I feel that it is important to always broaden our perspectives and not limit ourselves to one genre.” He grew up listening to English, Mandarin and Cantonese pop, and today he finds inspiration in movie and video game soundtracks as well as Japanese and Korean pop. “It is my belief that exposure to multiple genres will give me different outlooks on the music that I’m working on.” This openness feeds into how he shapes his interpretations and how he imagines the possibilities of the instrument.
His recital programme reflects this spirit of breadth and personal storytelling.
He begins with Jean-Baptiste Singelée’s Premier Solo de Concert, a brilliant showcase of technical agility and expressive clarity, before moving into the gentle lyricism of Tamezo Narita’s At the Shore (Hamabe No Uta), where the euphonium’s warmth and colour come to the fore. The reflective beauty of Gabriel Fauré’s Après un rêve allows the instrument to unfold with vocal tenderness, and the evening culminates in Pablo Sarasate’s Zigeunerweisen, an audacious finale rarely attempted on the euphonium and a testament to both his artistry and daring.
“The programme that I have curated for this occasion showcases both the euphonium and myself,” he explains. “The pieces in the first half are meant to show the full capabilities of the instrument, then the repertoire will move on to a more personal level, exploring my artistic journey thus far.”
Despite his achievements, he remains grounded.
He serves as Principal Euphonium with the SAF Central Band and the Lion City Brass Band, teaches at NAFA, and has appeared as a soloist with ensembles ranging from the Philharmonic Winds to the Singapore Symphony Orchestra, where he made history in 2017 during the President’s Young Performers Concert.
Yet even with these milestones, he sees his greatest responsibility in nurturing the next generation. “Honestly, I consider myself extremely lucky to be able to perform on the euphonium as my full-time job locally. I feel that the biggest challenge for me so far is to motivate the next generation to learn and develop the same passion I have for the euphonium.”
His hope is to inspire through example. “I believe in being a motivational role model and convincing the scene that it is actually possible to achieve your goals.”
Looking ahead, he envisions a future that blends innovation with advocacy. “I wish to utilise the skills that I have learnt in YST to further promote my craft, inspiring the next generation of musicians, exploring the endless possibilities that can be achieved through multi-genre collaborations and forging a new untrodden path in the process.” These ideas are already taking shape. “I have been in discussions with various composers and there are plans underway to commission new experimental works, and I look forward to presenting them to everyone in upcoming concerts or recitals.”
Chun Meng’s entry into YST’s graduate programme is more than an academic milestone. It signals a widening of what conservatory training can encompass and hints at new possibilities for instruments traditionally left on the fringes of classical study.
His recital marks this shift in quiet but meaningful ways. It celebrates an artist finding his voice, an instrument stepping into new spaces, and a moment in Singapore’s musical landscape that feels both overdue and promising.
Wednesday, 26 November 2025
YST Conservatory Concert Hall, 7.30pm
FREE