Beyond Ravel: Mathias Halvorsen comprehensively demonstrates it is well worth exploring Paul Wittgenstein’s commissions beyond the familiar Ravel

Concertos for the Left Hand: Ravel, Korngold; Mathias Halvorsen, Norwegian Radio Orchestra, Otto Tausk; Backlash Music
Reviewed 22 January 2025

Two Paul Wittgenstein associated works, one known, one lesser-known, both receive towering performances that bring out surprising commonalities between Ravel and Korngold. Who knew?

The works associated with pianist Paul Wittgenstein represent a remarkable range, some he commissioned, others were dedicated to him, some he performed, others he did not understand and did not. But you have to admit that a series of concertante works for piano left hand and orchestra by  Benjamin Britten, Paul Hindemith, Alexandre Tansman, Erich Wolfgang Korngold, Sergei Prokofiev, Karl Weigl, Franz Schmidt, Sergei Bortkiewicz, Richard Strauss and of course Maurice Ravel, represent a remarkable cross section of musical history in the 20th century.

There is certainly space in the recording catalogue for a comprehensive Wittgenstein collection, exploring all the works that were associated with him. Granted most, if not all, have been recorded but hearing them side-by-side as different composers grappled with the idea of a work for one-handed pianist and orchestra, would surely be fascinating.

Norwegian pianist Mathias Halvorsen has been exploring this repertoire and in his most recent recording has this to say about the challenge and rewards of these works: 

‘Given the nature of Wittgenstein’s injury and the war, these pieces transcend their apparent nature as “absolute music” (music created purely for its own sake). The dialogue between soloist and orchestra takes on new significance. The “one against many” dynamic becomes a metaphor for both personal and collective resilience, illustrating the struggle to assert one’s voice amidst overwhelming circumstances and the strength found in embracing limitations.’

There is, perhaps, one further point to be made. Paul Wittgenstein was called up to serve in the German army in World War One, was captured by the Russians at the Battle of Galicia and ended up a prisoner of war in Siberia. But his choice of composers for the works associated with him transcends this, there are Germans and Austrians, but also French, Polish, British, Russian. Music seems to transcend national boundaries. This is all the more remarkable given that Wittgenstein did not understand everything that came his way.

On this disc from Backlash Music, pianist Mathias Halvorsen is the soloist in Ravel’s Piano Concerto for the Left Hand and Korngold’s Piano Concerto in C sharp, for Left Hand and Orchestra with the Norwegian Radio Orchestra (Kringkastingsorkesteret), conducted by Otto Tausk. Both recordings were made live, though there were subsequent edits.

Both concertos are in one movement, and both seem to partake of that same ‘struggle’ that Halvorsen talks about. Wittgenstein premiered Ravel’s concerto in 1932, but angered the composer by making changes to the piece and when his right to perform it expired, Ravel reassigned the dedication. Korngold’s concerto, also commissioned by Wittgenstein, dates from 1924. Wittgenstein premiered it and had exclusive performing rights which he hung onto until 1961, which is one of the reasons the work dropped out of the repertoire.

The Ravel begins slowly, with the orchestra emerging from crepuscular gloom yet the recording gives a richness and vibrancy to the contrabass lines that is sometimes absent. There is plenty of space around Halvorsen’s piano, his opening gestures being allowed to make their mark. The march, when it finally comes, is not too driven and the work’s more poetic moments are allowed their own space. For all the work’s use of formal structures, Halvorsen and Tausk bring a feeling of rhapsody and fantasy to the piece. There is little sense of showy wonder to Halvorsen’s playing, you don’t listen and marvel that it is just one hand (and Sir Clifford Curzon once commented that using two hands in the concerto does not make it easier), instead Halvorsen makes you think that Ravel is using the natural vehicle for expression in the piece.

Korngold’s concerto is similarly in one continuous arc, though divided into three sections, the first moderate, the second ‘hero-like’ and the third ‘with fire and power’. The opening has a gestural quality which reminds me of the Ravel (Korngold’s came first), perhaps to do with the composers’ solving the challenge of writing for this combination. There is a real late-romantic feel to this music, yet there are moments when you understand why Korngold’s film music became so successful, he has a knack of creating memorable gestures and dramatic moments.  The work is ten minutes longer than Ravel’s and with a humungous solo part, this in itself helps to indicate why the work is only sporadically taken up. I have nothing but admiration for this recording, and Halvorsen and Tausk really make us come to admire, enjoy and perhaps even love this work.

This is definitely not one of those recordings where the better known work loses out. Yes, the Korngold is unusual and does received a towering performance, but Halvorsen and Tausk’s account of the Ravel more than holds its own and is a version I could happily live with, perhaps more.

Maurice Ravel (1875-1937) – Piano Concerto for the Left Hand [17:26]
Erich Korngold (1897-1957) – Piano Concerto in C sharp, for Left Hand and Orchestra [26:36]
Mathis Halvorsen (piano)
Norwegian Radio Orchestra (Kringkastingsorkesteret)
Otto Tausk (conductor)
Recorded live 10 March 2022
BACKLASH BM18 1CD