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On Tuesday 23 September the will perform Ravel’s Concerto for Left Hand at ³ÉÈËÂÛ̳ Hoddinott Hall. Initially, it may seem like something of a curio; a vanity work for pianistic virtuosity, but I want to tell you about the work’s conception, and about the incredible character behind it - .Ìý

Despite being a son of one of the wealthiest Viennese families of the early Twentieth Century, Wittgenstein’s family life was not wholly a happy one. Although his father, Karl, was an amateur violinist and an avid supporter of the arts, he was utterly against his sons' involvement in them.

The steel tycoon’s dogmatic insistence that his sons follow him into the family steel business resulted in much animosity at home (Brahms likened the family atmosphere to that of being in court), and it was only after the death of three of his sons, who tragically took their own lives, that Karl relented and allowed Paul and his younger brother Ludwig (who would become a celebrated philosopher) to pursue artistic endeavours. It is perhaps interesting to note, however, that Paul waited until after his father’s early death to make his debut.

It was while serving as a German officer in the First World War that Paul lost his right arm. At the Russian front, his elbow was shattered by a bullet and the young musician woke up in a field hospital, not only without his right arm, but also as a prisoner of war as the camp had been taken by Russian forces whilst he was unconscious and receiving treatment. His debut had been but one year earlier.

It takes a certain type of character to overcome such adversity and it was whilst still in a prisoner of war camp in Siberia that Paul not only decided to continue his career as a pianist, but also began writing letters commissioning works to suit his needs. I think his resolve and decision to commission works for one-handed pianists shows incredible foresight.

He didn’t want to be applauded for being able to traverse arrangements of mainstream repertoire in spite of his disability, acclaim that would unavoidably be tainted with sympathy or charity. Instead, Wittgenstein wanted works that would show his prowess as a musician, regardless of his disability.

For me, is the pinnacle of the works commissioned by Wittgenstein, but it's just the tip of the iceberg of this remarkable pianist’s musical legacy. Korngold, Hindemith, Richard Strauss (with whom Wittgenstein had played piano duets with before the war), Britten, Prokofiev, and many more, all took up commissions by Wittgenstein. The Ravel Concerto for the Left Hand is no curio - it is a legitimate work of a bona fide genre.

Perhaps even more important than Wittgenstein’s musical legacy is his legacy as a performer. There are many reasons for a pianist to lose, or never have the use of, either arm but Wittgenstein not only created a core repertoire for such pianists, but also proved that such an apparent handicap need not exclude one from forging a musical career, or having the enjoyment of expressing oneself musically.

In no small way, because of Wittgenstein’s legacy, many one-handed pianists have risen to acclaimed musical prominence - Gary Graffman, Leon Fleischer, Cor de Grot, and most recently, Britain’s own Nicholas McCarthy who performed with our orchestra during the ³ÉÈËÂÛ̳ Radio 3 piano celebration a few seasons back.

It is a marvel to hear anyone perform this concerto. My own pianistic skills are so limited that I stand in awe of anyone who can make the piano sound like a musical instrument - sadly, in my hands it sounds like nothing more than a glorified tuned percussion instrument. Come to our performance with ³ÉÈËÂÛ̳ Radio 3 New Generation Artist Louis Schwizgebel or tune in to .

Ravel’s Concerto for Left Hand will be performed live at ³ÉÈËÂÛ̳ Hoddinott Hall on Tuesday 23 September at 2pm. For tickets and more information, call 0800 052 1812 or visit the .

Paul Wittgenstein image licensed under the license.