One of the most astonishing stories in pianist history came from World War I veteran Paul Wittgenstein. A man with utter determination to make his dreams come true was surfacing in the pianist world.
The Piano Concerto for the Left Hand in D Major, by French composer Maurice Ravel, was simply a masterpiece. It's a true testament to his brilliance as a writer, and his ability to change a man's life.
Before the turn of World War I, a concert pianist named Paul Wittgenstein had showed promise. Unfortunately, by the time the war was over, he had lost his right arm during the fighting. While most people would give up their dreams, he still believed he could be an exceptional pianist.
Determined to succeed, he began practicing with his remaining hand to improve his left-handed technique. He tried to arrange two-handed works to accommodate his one-handed state. In the late'20's Wittgenstein decided to approach leading piano composers of his day and commission works written intentionally for the left hand alone.
Many felt this would not be feasible, but he eventually came across Sergei Prokofiev, Richard Wagner, Benjamin Britten, and Maurice Ravel who believed it was possible.
One of the biggest issues Ravel had in the beginning was that he never wrote a concerto, even though he had written several piano solos. When Wittgenstein approached him, he had already started working on Concerto in G, but it was intended for a two-handed player. During this time he was at a stalemate, and so he decided to take Wittgenstein up on his challenge. During Ravel's research of left-handed Etudes of Camille Saint-Saens, he began to believe his left-handed Concerto would be a noteworthy addition to piano repertoire.
And so it proved to be. Such is Ravel's craftsmanship that it is not at all obvious to a listener, that the piano part is written for just one hand. It is a dense, emotionally deep work which portrays the struggle of the one-armed pianist to overcome his tragic injury, and reinvent himself.
Though the piece has sometime been described as being in two movements, most experts agree that it is a piece written in one movement, but with three sections. Unlike most concerti, The Piano Concerto for the Left Hand is structured as Slow-Fast-Slow, rather than Fast-Slow-Fast.
Wittgenstein was a client who was famously difficult to please. He found something to complain about in almost every concerto offered to him by his all-star line-up of composers. With Wagner's work, Wittgenstein complained that the orchestration was too powerful to accompany a single-handed pianist, and would overpower the soloist. With Prokofiev's work, Wittgenstein declared that he simply would not play it.
For Ravel's Piano Concerto for the Left Hand, Wittgenstein's complaint had to do with the long solo cadenza just after the opening. "If I had wanted a solo piece," he is said to have declared, "I wouldn't have commissioned a concerto." However, as Ravel refused to change it, Wittgenstein performed the work as written, and later came to like it.
The Concerto for the Left Hand by Ravel is not just a work of immense musical merit, but also a testament to the indomitable human spirit.
The Piano Concerto for the Left Hand in D Major, by French composer Maurice Ravel, was simply a masterpiece. It's a true testament to his brilliance as a writer, and his ability to change a man's life.
Before the turn of World War I, a concert pianist named Paul Wittgenstein had showed promise. Unfortunately, by the time the war was over, he had lost his right arm during the fighting. While most people would give up their dreams, he still believed he could be an exceptional pianist.
Determined to succeed, he began practicing with his remaining hand to improve his left-handed technique. He tried to arrange two-handed works to accommodate his one-handed state. In the late'20's Wittgenstein decided to approach leading piano composers of his day and commission works written intentionally for the left hand alone.
Many felt this would not be feasible, but he eventually came across Sergei Prokofiev, Richard Wagner, Benjamin Britten, and Maurice Ravel who believed it was possible.
One of the biggest issues Ravel had in the beginning was that he never wrote a concerto, even though he had written several piano solos. When Wittgenstein approached him, he had already started working on Concerto in G, but it was intended for a two-handed player. During this time he was at a stalemate, and so he decided to take Wittgenstein up on his challenge. During Ravel's research of left-handed Etudes of Camille Saint-Saens, he began to believe his left-handed Concerto would be a noteworthy addition to piano repertoire.
And so it proved to be. Such is Ravel's craftsmanship that it is not at all obvious to a listener, that the piano part is written for just one hand. It is a dense, emotionally deep work which portrays the struggle of the one-armed pianist to overcome his tragic injury, and reinvent himself.
Though the piece has sometime been described as being in two movements, most experts agree that it is a piece written in one movement, but with three sections. Unlike most concerti, The Piano Concerto for the Left Hand is structured as Slow-Fast-Slow, rather than Fast-Slow-Fast.
Wittgenstein was a client who was famously difficult to please. He found something to complain about in almost every concerto offered to him by his all-star line-up of composers. With Wagner's work, Wittgenstein complained that the orchestration was too powerful to accompany a single-handed pianist, and would overpower the soloist. With Prokofiev's work, Wittgenstein declared that he simply would not play it.
For Ravel's Piano Concerto for the Left Hand, Wittgenstein's complaint had to do with the long solo cadenza just after the opening. "If I had wanted a solo piece," he is said to have declared, "I wouldn't have commissioned a concerto." However, as Ravel refused to change it, Wittgenstein performed the work as written, and later came to like it.
The Concerto for the Left Hand by Ravel is not just a work of immense musical merit, but also a testament to the indomitable human spirit.
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