Maurice Ravel - Piano Concerto for the Left Hand
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, is a testament not only to Ravel's brilliance, but also to the indomitable will of the man who commissioned it.
Back before World War I, a concert pianist by the name of Paul Wittgenstein was trying to make his mark in the world. After being drafted, he sadly lost his right arm throughout the fighting. However, Wittgenstein didn't believe his concert piano career was over as a result.
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.
While many refrained from the idea, Sergei Prokofiev, Richard Wagner, Benjamin Britten, and Maurice Ravel gave him the help he needed.
Ravel himself had never written a concerto before, but several piano solos. During this time he had been working on the Concerto in G, which of course was intended to be played with two-hands. After hitting a wall, he decided Wittgenstein's challenge may be what he needed to push forward. His research was uncanny, and as he studied the left-handed Etudes of Camille Saint-Saens, he believed 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.
Many experts agree that this piece allowed for 3 sections that were unlike other concerti. The Piano Concerto for the Left Hand was set up with a Slow-Fast-Slow movement, as opposed to Fast-Slow-Fast.
Truth be told, Wittgenstein was famously known for being hard to please. Richard Wagner offered work as well, but Wittgenstein complained about the orchestration being too powerful for a single-handed pianist. Then of course when Prokofiev offered his work, Wittgenstein wouldn't even play it.
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.
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. - 18762
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.
Back before World War I, a concert pianist by the name of Paul Wittgenstein was trying to make his mark in the world. After being drafted, he sadly lost his right arm throughout the fighting. However, Wittgenstein didn't believe his concert piano career was over as a result.
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.
While many refrained from the idea, Sergei Prokofiev, Richard Wagner, Benjamin Britten, and Maurice Ravel gave him the help he needed.
Ravel himself had never written a concerto before, but several piano solos. During this time he had been working on the Concerto in G, which of course was intended to be played with two-hands. After hitting a wall, he decided Wittgenstein's challenge may be what he needed to push forward. His research was uncanny, and as he studied the left-handed Etudes of Camille Saint-Saens, he believed 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.
Many experts agree that this piece allowed for 3 sections that were unlike other concerti. The Piano Concerto for the Left Hand was set up with a Slow-Fast-Slow movement, as opposed to Fast-Slow-Fast.
Truth be told, Wittgenstein was famously known for being hard to please. Richard Wagner offered work as well, but Wittgenstein complained about the orchestration being too powerful for a single-handed pianist. Then of course when Prokofiev offered his work, Wittgenstein wouldn't even play it.
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.
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. - 18762
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