” Thus did Nikolai Rimsky-Korsakov give the curt explanation of the genesis of his well-known work in his autobiography, My Musical Life. “In the middle of the winter, engrossed as I was in my work on Prince Igor and other things, I conceived the idea of writing an orchestral composition on the subject of certain episodes from Scheherazade. A cadenza and closing flourishes from the orchestra bring this masterwork of Ravel’s maturity to a powerful conclusion.
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The jaunty scherzo resumes, but is brought to a sudden halt by a silence and the return of the snapping opening theme for full orchestra. A scherzo-like strain and a cheeky tune piped by the high woodwinds are followed by the recall of the smooth melody of the beginning, here entrusted to the solo bassoon and then solo trombone. The central, “jazzy” section is driving in rhythm and brilliantly brittle in sonority. Most of the remainder of the opening section is given over to further orchestral elaborations of this melody. The two themes are interwoven to achieve a climax from the full orchestra after which the soloist emerges with a cadenza based on the snapping-rhythm theme. The opening rises from a barely audible rumbling of the lowest instruments during which two thematic cells are presented: the first, with its snapping rhythmic figures, is intoned by the contrabassoon the second is a smooth melody presented by the horns. The Left Hand Concerto is in three sections.
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Ravel, intrigued by Wittgenstein’s sincerity and the challenge of the project, accepted the proposal. Wittgenstein had transcribed several piano works for left hand alone and commissioned new pieces from some of the era’s most distinguished composers, including Strauss, Prokofiev, Britten, Hindemith and Korngold.
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While he was at work on what became the Concerto in G, however, he was asked to compose another concerto by the pianist Paul Wittgenstein, brother of the eminent Austrian philosopher, Ludwig, who was determined to continue his concert career despite the loss of his right arm during the First World War. Plans were begun almost immediately for a second foray into the New World, and he started work on a piano concerto in 1929 that was to be the centerpiece of the venture. Maurice Ravel made a triumphant tour of America as pianist and conductor in 1928. Piano Concerto for the Left Hand (1929-1930)