French Piano Composer Maurice Ravel
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.
All you have to do is see the Piano Concerto for the Left Hand in D Major, by French Composer Maurice Ravel. It is a true testament to his brilliance, and will as man to do what he loves best.
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.
So he began working on his left-handed technique. If he could arrange two-handed works in a single handed state, he would be able to pull off something no other pianist had attempted. By the late 1920s, he had mastered his technique and fel it was time to approach the all-star composers of the world.
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.
The meaning behind his eventual completion was about the struggles of a one-armed pianist trying to overcome a tragic injury and reinvent himself. The craftsmanship was brilliant, and the construction left it impossible for listeners to realize it was only being played with one hand.
The biggest factor that allowed this to work, was the break-up into 3 sections. Normally, other concerti would have a Fast-Slow-Fast movement, but the Piano Concerto for the Left Hand was set up as Slow-Fast-Slow.
While these individuals did all they could to please Mr. Wittgenstein, it was extremely difficult. When Wagner brought forth work, the complaint revolved around the orchestration being too powerful for a single-handed pianist. When it came to Prokofiev’s suggestions, Wittgenstein simply wouldn’t play them.
Even with the Piano Concerto for the Left Hand, Wittgenstein complained about the long solo cadenza right after the opening. During one instance he even told Ravel; “If I had wanted a solo piece, I wouldn’t have commissioned a concerto.” However, Ravel stood his ground, and over time, Wittgenstein began to like it.
In the end, the Concerto for the Left Hand was a true testament to the human spirit of, and more than just the overcoming nature of one man.
