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Have you ever thought that being a piano soloist with one arm was impossible? Well for one determined young man, it became a dream.

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.

Due to his inabilities, he began practicing his left-handed technique. The goal was to arrange two-handed works in such a way, that they would accommodate his one-handed state. By the late’20s, Wittgenstein decided it was time to approach others about his innovation.

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.

Once complete, his masterpiece portrayed a dark piece of work about the struggles of a one-armed pianist. It was also about the long road to reinventing himself after a tragic injury. Turns out the craftsmanship was brilliant, and listeners couldn’t even tell it was being played by someone 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.

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 the initial thought behind the Piano Concerto for the Left Hand was negative. Wittgenstein believed the solo cadenza after the opening was too long. In fact, he told Ravel; “If I had wanted a solo piece, I wouldn’t have commissioned a concerto.” However, Ravel refused to change, and over time Wittgenstein began to like it.

In the end, the Concerto for the Left Hand was a true testament to the indomitable human spirit.

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