Concerto for the Left Hand – Yes, There Really Is One
Do you think a one-armed man could have a career as a piano soloist? For one determined young man, the answer was, “Yes.”
The Piano Concerto for the Left Hand in D Major, by French composer Maurice Ravel, is a testament not only to Ravel’s brilliance, but also to the indomitable will of the man who commissioned it.
Paul Wittgenstein was a concert pianist who had launched his career in the year before World War I broke out. Sadly, he lost his right arm during the fighting. After the war, Wittgenstein was not willing to admit that his dream of a concert piano career was over. 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 1920’s Wittgenstein decided to approach leading piano composers of his day and commission works written intentionally for the left hand alone.
Sergei Prokofiev, Richard Wagner, and Benjamin Britten were among the illustrious composers who answered Wittgenstein’s call. And so did Maurice Ravel.
At this time, Ravel had never written a concerto before, though he had written piano solos. He was working on his Piano Concerto in G, more traditionally intended for two hands, and was feeling blocked. Enthusiastically taking up Wittgenstein’s challenge, Ravel studied the left-handed Etudes of Camille Saint-Saens. Ravel was determined that his left-handed Concerto would not be a mere stunt, but 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.
Tags: concert pianist, concerto for the left hand, Maurice Ravel, one-armed pianist, one-handed pianist, paul Wittgenstein, piano, piano concerti, piano concerto, piano concerto for the left hand, piano concerto for the left hand in d major, piano performance, piano performer, ravel’s concerto for the left hand, world war I
