Interview by FTVNEWS

Interview by FTVNEWS

2015 Taichung Arts Festival 

https://www.youtube.com/watch?v=bzxLgNpmJGc

2015 Taichung Arts Festival -Rueibin Chen & L’Ensemble du Ciel

Rueibin Chen & L’Ensemble du Ciel  

 2015/10/28   Pm.7:30  

HULUDUN CULTURAL CENTER RECITAL HALL 

2015 Taitung Arts Festival

                            2015 Taitung Arts Festival  

2015 Taitung Arts Festival

2015 Taitung Arts Festival  

Rueibin Chen & Friends  

10/24 (六) Sat. PM 19:30 

Taitung Cultural Arts Center  . Concert Hall 

Scriabin 100th anniversary Prelude and Nocturne Op. 9 for the Left Hand USC PAM Gala

# Scriabin 100th anniversary Prelude and Nocturne Op. 9 for the Left Hand #USC PAM Gala #Trojans Fight On !

The Amazing Musical Journey of Rueibin Chen

The Amazing Musical Journey of Rueibin Chen

Interview by The Panorama Magazine

Aug 2015

The taiwanese musical prodigy who became famous at a young age: Rueibin Chen, a pianist who now lives in Austria.

In 1980, then only 13 years old, Chen traveled on his own to Austria to study music. At age 16, he came to public attention by winning the Rachmaninoff International Piano Competition in Italy. In the more than three decades since then, Chen has won countless prizes from all over the world and received rave reviews for his performances. Naturally, accolades have also come from the land of his birth Taiwan.

Although this internationally renowned pianist left home at a young age, his local accent remains unchanged and today Chen still speaks in heavily Taiwanese-accented Mandarin Chinese. It gives one a sense of familiarity, and the sense of distance that one might feel talking with a world-famous classical musician disappears. In addition, his music carries a profound nostalgia for home, and reminds us that music has no borders.

Rueibin Chen had already won gold medals in five major international competitions before he was 20. His technique and his sensitive musicality had critics saying he has “the fingers of an angel,” and his natural, passionate on-stage charisma made him beloved among music fans around the world.

In 2013, the 140th anniversary of the birth of the Russian pianist and composer Sergei Rachmaninoff, in order to show his profound respect for this great musician Chen embarked on a world tour of recitals entitled “Listen: Total Rachmaninoff.” The tour began in his motherland Taiwan, and from there went on to Beijing, New York, and elsewhere.

“This was not something you could describe as ‘fun,’” says Chen. The first night he performed three pieces, and had to change shirts three times, because he was soaked through with sweat after each composition.

In the process of performing works by Rachmaninoff, Rueibin Chen has re-experienced that first challenging and incredible journey to another land when he was 13, and that moment at age 16 when he dazzled the entire audience in Italy during the Rachmaninoff Piano Competition.

Far from home, alone
Chen was born into a musical family, and says of himself:
“There was a piano waiting from the moment I was born.”
But Chen did not, as one might think, have an exceptional musical education. His father taught school in Tainan, and Chen grew up in the countryside, where there was no music track in the schools and he had no opportunities to travel to Taipei to study with any master teachers. He had to improvise his own piano education, supplemented by tips he got from his uncle, a music teacher in Taipei who made occasional trips south.

Chen relates that in those days, when there were no IT tools like there are today, any kind of materials about music, whether textual or audio, were in short supply. Anyone who wanted to seriously study music had little choice but to go abroad.
When he was 13, Chen passed the exam qualifying him to go abroad. His father borrowed money through two rotating credit clubs and gathered up just enough cash for Rueibin to travel alone to Vienna.

Thus Chen’s first time away from home was to go abroad, and his first time abroad was to be alone in distant Austria, a country which at that time had very few Chinese people at all. For a 13-year-old child, this was a very severe challenge and even could be considered dangerous.

“Can you imagine a child going on his own to study German, going on his own to find a guardian, going on his own to the police station to handle his residency process, going on his own to rent an apartment?” Two years later his younger brother, who by then was 13 years old, was also sent to Vienna to study music, meaning that Rueibin, then just 15, had to take on the enormous responsibility of looking after his sibling.

He recalls that at that time it was not possible to remit money directly from Taiwan to Austria, and it had to be routed through the US to Vienna, a process that took six months. Therefore Chen had to estimate all of his expenses half a year in advance, and give his father lots of warning time. “The first thing I did every morning when I woke up was to look at my bank passbook, because I was very scared that I would make a mistake and spend money that I didn’t have!”

Because it is impossible to practice piano without making noise, Chen was several times asked by landlords to move out of places that he had rented, each time making him feel more isolated and helpless. “Eventually I found an old house, nearly 300 years old, where I could play to my heart’s content. The walls of this old house were quite thick, and the ceiling was high,” he reminisces, “It was a great place to practice. Almost every piece that I won a prize with in competitions was practiced there.”

At age 16 Chen began to be entirely responsible for himself, earning his living expenses through performances and competitions. “I brooded and felt down when I lost a competition or things weren’t going well, and I often couldn’t get to sleep without sleeping tablets.”

Even more heartbreaking was that ten years after arriving in Vienna, Chen had still not returned to Taiwan even once, nor had any family members gone to Austria to visit him. There was no email, and no mobile apps such as LINE, so he and his family in Taiwan had to rely entirely on snail mail. The only two chances per year he had to speak by phone with his family were at Chinese New Year and Mid-Autumn Festival, when overseas phone calls were at a discount, and his family could call him from Taiwan.

“It was always very painful to receive these phone calls,” recalls Chen. Most of the time, because the distance was so vast, there was no point in even thinking about his family. But as soon as he heard their voices, all the defenses he had built up to stay strong day after day completely collapsed.

No pain, no gain. In Austria, one of the capitals of classical music in the West, Chen was able to find rich musical sustenance. But he missed out on the childhood experiences and loving family that most children his age enjoyed. Chen says: “Paying these dues was extremely beneficial to my musical formation, and also had a tremendous impact on the way I perform and interpret music.”

No music, no life
Chen returned to Taiwan to give a performance at age 23. This was the first time he had come back since going abroad ten years previously, and the first time he met with the family he had not seen for such a long time. “When I saw my father at the airport, he was like a stranger to me, and we were hesitant about greeting, not sure that we recognized each other,” Chen recalls.

“My family didn’t have a very clear idea of how my career had developed in Europe. They didn’t know that besides getting certifications for completing studies in both Vienna and Germany, I had also attended other major music schools in Italy, Austria, and France.” It was only two or three years ago that Chen told his mother all of this, and she was dumbfounded.

Why did he travel all over to learn? Chen explains that in Europe people put a lot of emphasis on tradition, and each country or location has unique features or characteristics to its musical traditions. Therefore, except for Britain, which wasn’t directly accessible by train in those days, he wanted to visit as many places as he could to get a taste of what they had to teach.

At age 20 Chen traveled to Israel, where he won a prize in the Rubinstein International Competition. It was there that he met a man who would influence him profoundly: the Soviet Jewish pianist Lazar Berman. Chen became Berman’s one and only Asian student. For a full six or seven years thereafter, an average of once a month he would travel over ten hours by train to have a class with Berman. “Each time we would play for four or five hours, and by the end of class my hands were really hurting, so I would have to rest for two days before I could play again.”

Chen tried, from Berman’s music and life, to understand the enigmatic, profound, and sometimes grandiose Russian soul. “My teacher only became famous when he was 50 years old, because the KGB would not let him go abroad,” recounts Chen, saying that his teacher’s perseverance and refusal to give up inspired the same attitude in him.

The fingers of an angel
The media has often described Chen’s deft touch and technique at the piano by saying he has “the fingers of an angel.” But when he performs, not only do you see his digits flying across the keyboard, he uses the energy and vitality of his whole body in the performance. Chen smiles as he tells us, “My friends have laughed at me, telling me that ‘the return on my investment’ is definitely too low!” But he does not act this way deliberately or consciously; rather it is the music that causes him to quite naturally express himself in this way.

One music critic has written: “Chen’s ‘deep touch’ is firm and powerful, his fingering is very clean and accurate, and when his fingers race across the keyboard the articulation is clear, each note is pearl-like, and the tone is full and resonant. All of these things are purely and directly derived from the technique and style of the Russian school of piano.”

The respected Swiss newspaper Neue Zürcher Zeitung even wrote of him: “He is that rare kind of talent that comes along only once every 20 years.”
But what does the expression “the fingers of an angel” really mean? Chen replies: “Maybe it’s a kind of infectiousness that links the onstage emotionally with the offstage!”

Chen confesses, “I was basically forced to reach the level I’m at.” Chen says straight out that for Asians, who generally have a smaller physique, it is more difficult to command the entire piano, especially given that the pieces he performs are all extremely challenging. However, his teachers have never for this reason lowered their expectations or demands. Difficulty is not decided by technique alone, says Chen, but also by “state of mind.” No matter what, resonance, dramatization, passion… he was required to do the same as his teachers.

Some have said that you can hear a deep and rich nostalgia for his motherland in Chen’s performances. Maybe that is why Chen says that works by Rachmaninoff, compared to those of other composers, definitely have a different feeling for him.
Because of the Russian Revolution, Rachmaninoff spent the latter half of his life living in exile in the western United States. His later works all evoke a profound nostalgia and sense of loss for his homeland. Chen, who left home as a mere child, can very much relate to this feeling.

Having played all of the canonical works of classical music, in recent years Chen has devoted more attention to premiering new compositions for piano or symphony. For example, his fingertips have carried works like Love River Concerto, which was inspired by the Love River in Kao¬hsiung, and Cold Night, which is based on Hakka themes, to New York’s Lincoln Center for the Arts, Australia’s Sydney Opera House, and the Hong Kong Cultural Centre.

The same music can produce different emotional effects depending upon the listener. When Chen performed Love River Concerto in New York, some Taiwanese who had not been back home for more than 30 years shed tears of homesickness. On the other hand, foreigners who heard the piece got a romanticized notion of the Love River, and some even said they wanted to come to Taiwan to see it for themselves.

Music is his home
If you ask Chen where his home is, the still unmarried pianist says, “That’s hard to say!” If home means ‘house,’ then it’s Austria. But since he is generally on the road performing, his house in Vienna is normally empty.

Call it drifting, if you will, or nomadic. But in any case Chen’s performing career means that he has virtually no “home.”
Over the last couple of years, Chen has performed in a number of benefit events. Last July, after the underground gas explosions in Kao¬hsiung, Chen, who happened to be near the area where the explosions occurred on that night, was deeply touched by the assistance that poured in from the outside world.

In order to thank the citizens of Hong Kong for their generosity, the Capriccio Chamber Orchestra and the Kao¬hsiung City Tourism Association jointly organized a charity concert at the Hong Kong City Hall Concert Hall, at which Chen gave solo performances as his way of giving something back to Hong Kong.

The environment and experiences of days gone by created the high-risk, high-thrill, fantasy-like musical journey of Rueibin Chen. It is his belief that musicians today are unlikely ever to have to face such extraordinarily challenging circumstances as he did. Whether that is for better or for worse, only Chen himself can really understand.

The Amazing Musical Journey of Rueibin Chen

The Amazing Musical Journey of Rueibin Chen

Interview by The Panorama Magazine

Aug 2015

The taiwanese musical prodigy who became famous at a young age: Rueibin Chen, a pianist who now lives in Austria.
In 1980, then only 13 years old, Chen traveled on his own to Austria to study music. At age 16, he came to public attention by winning the Rachmaninoff International Piano Competition in Italy. In the more than three decades since then, Chen has won countless prizes from all over the world and received rave reviews for his performances. Naturally, accolades have also come from the land of his birth Taiwan.

Although this internationally renowned pianist left home at a young age, his local accent remains unchanged and today Chen still speaks in heavily Taiwanese-accented Mandarin Chinese. It gives one a sense of familiarity, and the sense of distance that one might feel talking with a world-famous classical musician disappears. In addition, his music carries a profound nostalgia for home, and reminds us that music has no borders.

Rueibin Chen had already won gold medals in five major international competitions before he was 20. His technique and his sensitive musicality had critics saying he has “the fingers of an angel,” and his natural, passionate on-stage charisma made him beloved among music fans around the world.

In 2013, the 140th anniversary of the birth of the Russian pianist and composer Sergei Rachmaninoff, in order to show his profound respect for this great musician Chen embarked on a world tour of recitals entitled “Listen: "Total Rachmaninoff.” The tour began in his motherland Taiwan, and from there went on to Beijing, New York, and elsewhere.

“This was not something you could describe as ‘fun,’” says Chen. The first night he performed three pieces, and had to change shirts three times, because he was soaked through with sweat after each composition.

In the process of performing works by Rachmaninoff, Rueibin Chen has re-experienced that first challenging and incredible journey to another land when he was 13, and that moment at age 16 when he dazzled the entire audience in Italy during the Rachmaninoff Piano Competition.

ピアニスト陳瑞斌の永遠の郷愁 -- Interview by The Panorama Magazine

ピアニスト陳瑞斌の永遠の郷愁

Interview by The Panorama Magazine

Sep. 2015

台湾音楽界の神童、オーストリア在住のピアニスト陳瑞斌(Rueibin Chen)である。
1980年、わずか13歳の陳瑞斌は音楽の勉強のために独りオーストリアへ渡り、16歳でイタリア･ラフマニノフ国際コンクールで頭角を現わした。それから三十余年、陳瑞斌は世界各地で数々の賞を取り、高い評価を欲しいままにしている。出生地･台湾では言うまでもない。

世界に知られるピアニストは幼くして家を離れたが言葉は変わらない。台湾の少年が国際コンクールで優秀な成績を収めたことに歓喜した時、陳瑞斌の距離感のない身近な台湾訛りが聞かれた。望郷の思いをのせた音楽が、故郷を離れた、それでいて国境のない音楽の情を訴えていた。

栴檀は双葉より芳しい。20歳までに陳瑞斌は国際ピアノコンクールのタイトルを5つ獲得している。「天使の指」と呼ばれるテクニック、鋭敏な音楽性、そして自然で情熱的なステージの魅力は、世界中のファンを魅了する。

2013年、陳瑞斌が敬愛するロシアの偉大な作曲家ラフマニノフの生誕140周年に際し、偉大な音楽家に敬意を表するために「トータル･ラフマニノフ」ワールドツアーを行った。台湾を皮切りに、北京、ニューヨークへと各地を巡回した。　「まったくお遊びではありません」陳瑞斌はいう。初日の夜は3曲を演奏し、シャツを3回着替えたが、すべて汗でぐっしょり濡れた。
ラフマニノフ作品を演奏しながら、陳瑞斌は13歳で遠く故郷を離れて勉学に臨んだ不思議な旅路と、16歳の年にイタリア「ラフマニノフ･ピアノコンクール」でホールを魅了した栄光を再び歩むかのようだった。

13歳でオーストリアへ
音楽一家に生れた陳瑞斌は「生れたときにはピアノが待っていた」と形容する。音楽にあふれる家庭環境に育ち、3兄弟が皆、音楽の道に進んだ。弟はチェロ、妹は大学卒業後アメリカにわたり音楽を学ぶ。
陳瑞斌は「神童」と呼ぶに相応しい。父は台南で教職についており、田舎育ちの陳瑞斌は音楽クラスにいたこともなければ、台北で有名な師に学ぶこともなく、地道な努力に頼り、台北で音楽を教える叔父がたまに来て指摘するだけだった。情報が未発達な時代には音楽に関する活字や音声の情報が非常に欠乏していたから、音楽を学ぶには海外へ行く以外に方法がなかったという。

三十数年を経て情報が発達しても音楽留学の風潮は変わらない。陳瑞斌は当時、一人で海を渡った。
13歳の陳瑞斌が留学資格に合格すると、父は「頼母子講」を2つ落札して、一人ウィーンへ行く資金を集めた。初めて家を出るのが海外だった。初の海外が、当時中華系の極めて少ないオーストリアということは、13歳の子供にはあまりに厳しいチャレンジとリスクであった。
陳瑞斌はまず試験にパスして在留が許可されてから落ち着く先を決めねばならなかった。「子供が一人でドイツ語を習いに行き、自分で身元保証人を探し、自分で警察に行って在留手続をして、自分でアパートを探すなど想像できますか?」
2年後、13歳の弟もウィーンに来た。未成年の陳瑞斌が弟の面倒を見ることになる。

失われた子供時代
学ぶことは苦にならなかった。辛かったのは暮らしの中で面倒を見てくれる人のいない不安と挫折だった。当時、台湾元対米ドルは40：1で、直接送金できずアメリカ経由でウィーンに送金され、半年かかった。陳瑞斌は半年先の支出の用途と金額を見積もって、父に連絡する。「毎朝まず通帳を見るのが日課でした。忘れて他に使ってしまうといけないと緊張していたからです」
ピアノの音がうるさいと大家に追い出されることが重なり、孤立無援をことさら強く感じた。「後になって築300年近い家が見つかり、好きなだけピアノを練習できるようになりました。古い家は壁が厚く天井も高いからです。入賞したコンクールはほとんどそこで練習しました」

16歳からは、公演とコンクールの賞金で生活費を自分で稼ぐようになった。「勝ち負けが気になり、睡眠薬がなければ眠れないこともたびたびでした」さらに傷ましいことに、ウィーンへ渡って10年、陳瑞斌は台湾に帰ったことがなく、家族もウィーンへ会いに来ることはなかったのである。こうして一人異国で孤独に成長していった。
EメールもLINEもない。陳瑞斌と台湾の家族は手紙のやりとりだけだった。家族と話せるのは、春節と中秋節に海外通話が割引になる時に、台湾からかかってくる電話だけだった。「そうした電話はつらいものでした」普段は遠すぎて想うだけ無駄なのに、実際に家族の声を聞いてしまうと、武装した心もひとたまりもない。

「冒険」の「不思議」な経験を振り返り、当時は選択の余地がなかったという。公費は得られなかったが、教育部が就学者にパスポートを発行したら15歳までに出国しないかぎり、兵役義務を果たさねばならなかった。
得るものがあれば失うものもある。陳瑞斌は音楽の都ウィーンで豊かな音楽の滋養を吸収したが、同年齢の子供にあるべき子供時代の経験や親の愛情は失われた。陳瑞斌は「奮闘の甲斐あって、私の音楽の造詣に大きく作用し、演奏と解釈に深く影響しました」

音楽は人生
23歳、陳瑞斌は受賞後に台湾へ帰って公演した。10年ぶりの帰郷だった。長い間会えなかった家族との初の再会でもあった。10年、幼さの残る子供が立派な青年になっていた。一方、両親も十年の風雪で老いは隠せなかった。「空港で父に会っても、見知らぬ人のようでした」
「父はいまだにウィーンへ行ったことがありません」早くに家を出たせいか、家族よりファンのほうがよほど陳瑞斌を理解していた。「私のヨーロッパでの健闘を家族は知りませんでしたし、ウィーンとドイツで修了証書をもらった他に、イタリア、オーストリア、フランスの重要な音楽学校はすべて行ったことも知りませんでした」2～3年前に母に話したら驚かれたという。

なぜ各地を遊学したのか。ヨーロッパは伝統を重視する土地柄で、地域それぞれの音楽の特色がある。だから鉄道で行けないイギリスを除き、十数時間の道のりでも、なんとか行ってみようと想ったのである。「クラシック音楽はヨーロッパで生れました。よそ者は二、三十年かけてヨーロッパの文化の真髄を自分の血液に取り込んだうえで表現しないかぎり、彼等を説得できません」陳瑞斌は、ドイツ人は非常に誇り高く、レストランに腰を落ち着けたら、まず口から出るのが歴史だという。「私は台湾で中国の歴史さえ勉強していません。無茶を承知でドイツ語でドイツ人と歴史談義をするしかありません」

20歳の年にイスラエル･ルービンシュタイン国際コンクールで1位を獲得したことで、自身に深い影響を与える師に出会う。旧ソ連出身のユダヤ系ピアニスト、ラザール･ベルマンの唯一のアジア人生徒となった。それから6～7年の間、陳瑞斌は月1回、十数時間の鉄道の旅を経てベルマンに教えを請いに行った。「行けば4～5時間弾き続け、レッスンが終わると手が痛くて2日間はピアノが弾けませんでした」
陳瑞斌は師の音楽と人生から華麗にして情熱的なロシアの魂を学び取ろうとした。「先生は50歳でやっと有名になりました。KGBが海外に出さなかったからです」彼は、師に音楽への思い入れと諦めない精神を見て、感動したという。

ベルマンは衝突のある音楽を好んだ。「現実の人生とは幸福と苦痛が織り成すもの」と言い、陳瑞斌を励ました。「音楽はこの世で最も美しいもの。たくさんの可能性を生み出します。きっと、失望と困難を乗り越えて、諦めずに、音楽の素晴らしさを真に体験してください」と。

天使の指が心を叩く

メディアは陳瑞斌の演奏テクニックを「天使の指」と形容するが、指が舞うだけでなく、全身の力と生命の力を振り絞っての演奏である。「友達に、投資収益率が割に合わないと笑われます」音楽が自然にそうさせるのであって、意図はしていないという。評論家は「陳瑞斌の『深いタッチ』の力強さ、はっきり正確な指づかい、速いテンポの音の粒子と旋律の円みを帯びた音色、どれをとっても純正なロシア･ピアノ楽派のテクニックと風格」と評する。「きめ細かく、情熱的で、魅力と狂気にあふれ、打鍵が一つひとつ聴衆の心臓に届く」スイス『Neue Zücher Zeitung』紙は「二十年に一人の天才」と絶賛した。

「天使の指」とは何か。陳瑞斌は「ステージの上と下を繋ぐ共感でしょうか」「2万人の聴衆も、2千人、いえ2人でも弾く気持ちは同じです」
「私は要求されて今があるのです」陳瑞斌は、東洋人の体型ではピアノを操るのは難しいという。加えて弾くのは難しい曲ばかりである。だが背の高いロシア人の師は、要求のレベルを下げることはなかった。困難はテクニックだけでなく、「境地」にもあった。音色もドラマ性も激情も、すべて師と同じレベルが要求された。

陳瑞斌の演奏には色濃い郷愁がにじみ出ているという人もいる。陳瑞斌は、ラフマニノフを弾くと確かに違った感じがするという。ラフマニノフは後半生、ロシア革命のために米西部へ渡り、故郷へ帰ることはなかった。晩年の作品は故郷への強い慕情を帯びている。その思いに、幼くして家を出た陳瑞斌は身をもって共感するのである。

黄河と愛河
長年にわたって海外で演奏してきた陳瑞斌だが、2004年に『ピアノの4つの表情』で台湾金曲賞「最優秀クラシック音楽アルバム賞」と「最優秀演奏賞」の2つの大賞を受賞し、歌手の蔡琴、李克勤とコラボ･アルバムも出している。

世界中のクラシック名曲を弾いてきた陳瑞斌は、近年たびたびピアノソロや協奏曲で新曲の初演を行っている。高雄の愛河を描く「愛河協奏曲」や、客家をテーマにした「寒夜」といった曲が、彼の指先からニューヨーク･リンカーンセンター、シドニー･オペラハウス、香港文化センターなど国際音楽ホールに響いた。
「楽曲『黄河』は大戦前、日本との戦争中に書かれ、自然と戦争とを表現しています。『愛河』が描くのは南台湾･高雄の成長と変遷です」

同じ音楽も聴き手が違えば感動も違う。陳瑞斌がリンカーンセンターで「愛河」を演奏したとき、三十数年故郷へ帰っていない台湾人が、望郷の念に涙した。欧米人は愛河にロマンチックな幻想を抱き、台湾に行ってみたいと思う。
今年5月の北京･国家大劇院の公演の際には、大陸のテレビのインタビューはいつも「黄河」にまつわる内容だった。「史上最も感動的なバージョンの黄河が、アジアを離れて三十数年、一度も大陸で暮らしたことのない者の手になるものだったからです」

世界を家として
家はどこかと聞かれたら、今も独身の陳瑞斌は答え難いという。家が自宅を指すのなら、オーストリアにいても公演に出かけてばかりいるから、自宅には誰もいない。漂泊もよし、流浪もよし。陳瑞斌の演奏人生に留まる「家」はない。歩いてきた道を振り返ると、忘れ難いことが2つある。
一つはイスラエルでのコンクールで受賞し、ノーベル平和賞を受賞したばかりのイスラエルのラビン首相からトロフィーを受け取り、非常に感動した。その数ヵ月後にはラビンが暗殺されたことが、どうにも信じ難かった。

もう一つ忘れられないのは、二、三十年前のルーマニアでの公演である。当時ルーマニアは不況だったにも関わらず、二千人のホールは満席だった。その晩の入場料はある楽団員の給料の半月分だったと、後になって知ったのだった。
この2年、陳瑞斌は愛と希望を届けるチャリティ活動に数多く参加している。

昨年7月の高雄ガス爆発事故の夜、陳瑞斌は爆発地点の近くにいたから、思いはいっそう特別である。「私は運よく難を逃れました」香港の人々の支援に感謝し、カプリッチョ･チェンバー･オーケストラと高雄市観光協会が合同で「愛と希望を届けるチャリティピアノコンサート」を開催し、陳瑞斌は香港シティホールで「愛河情」と「愛の喜び」「舟歌」などの名曲を奏で、香港のファンに感謝を伝え、満場の喝采を浴びた。

当時、境遇の厳しさが、冒険に満ちた絢爛の音楽の旅路を作り出し、普通では為し得ない音楽の高みへとたどり着いた。これほどの苦境は今となっては昔のことだが、その得失は、陳瑞斌だけが身をもって感じることができるのである。