During his early twenties, DJ was steadily working toward his dream of becoming a concert pianist. His prospects looked bright—he was even pursuing postgraduate studies in Russia, one of the world’s most prestigious destinations for classical music training.
But then, everything changed. DJ suffered a sudden stroke that paralyzed the right side of his body, rendering him unable to play the piano as he once had. His aspirations came to a halt, and his connection to the world around him shifted dramatically.
“Piano music is important in my life because you don’t have to say anything—you express your emotions through your playing,” DJ shared.
The impact on his mental health was significant.
“Being not able to play was very depressing and very boring,” he admitted.
Yet, as he navigated his new reality, DJ came to an empowering realization:
“I might have one hand, but I have five fingers… That is actually going to be okay.”
In his journey back to music, DJ uncovered a little-known but rich history of piano compositions written specifically for the left hand. This body of work largely stems from the early 20th century, inspired by veterans who returned from World War I and II with injuries that prevented them from playing with both hands.
DJ credits these trailblazing musicians with inspiring him to sit at the piano once again.
This tradition began most notably with Austrian pianist Paul Wittgenstein, who lost his right arm after being shot in the elbow during World War I. Despite the injury, Wittgenstein—who came from a highly musical family surrounded by greats like Brahms, Mahler, and Strauss—was determined to continue his career.
He refined his technique for the left hand and commissioned new works from major composers such as Benjamin Britten, Erich Korngold, and Sergei Prokofiev.
Perhaps the most enduring result of these efforts is Maurice Ravel’s Piano Concerto for the Left Hand, a work that continues to be performed by top pianists worldwide and even featured in the television series MASH*.
Wittgenstein premiered the concerto on January 5, 1932, with the Vienna Symphony Orchestra. Despite some tensions with Ravel over unauthorized changes Wittgenstein made, the work remains a milestone in the left-hand repertoire.
Writing compelling piano music for a single hand is no small feat. Ravel, in composing his famed concerto, sought to push the limits of what could be achieved with just five fingers—ensuring the music maintained its complexity and emotional depth.
“The fear of difficulty, however, is never as keen as the pleasure of contending with it, and, if possible, of overcoming it,” Ravel remarked before the concerto’s debut.
To this day, the piece is considered highly challenging. Renowned pianist Alfred Cortot even created a two-handed version—despite Ravel strictly forbidding it.
DJ demonstrates in The Piano (available on ABC iview) how he brings multi-layered complexity to his performances with just one hand. He assigns the melody to his thumb, the bass line to his pinky, and uses the three middle fingers to deliver harmonies and tonal color.
Series judge and legendary pianist Harry Connick Jr. was in awe:
“He’s got his thumb, three middle fingers, and his pinky doing three separate voicings… That’s unbelievable.”
Paul Wittgenstein’s efforts inspired future generations. German pianist Siegfried Rapp, who lost his right arm in World War II, continued the legacy. While a few pieces exist for right-hand-only performers, they are far less common—largely because no one championed the cause like Wittgenstein did.
In the 1960s, American pianist Leon Fleisher developed a condition that made his right hand unusable. He didn’t stop performing—he leaned into the left-hand repertoire, including works commissioned by Wittgenstein. Fleisher also expanded the genre by arranging and commissioning new music.
More recently, British pianist Nicholas McCarthy, born without a right hand, became the first one-handed pianist to graduate from the Royal College of Music. He has continued to perform and arrange pieces within the left-hand tradition and even served as a consultant for ABRSM (Associated Board of the Royal Schools of Music) to create an exam syllabus dedicated to one-handed piano music.
By returning to music, DJ found more than just an outlet—he rediscovered his identity.
“When I realised I could play piano again, it was like a homecoming for me. I feel like I got my voice back.”
His talent and resilience earned him a spot as a finalist in The Piano, culminating in a performance at Sydney’s City Recital Hall.
“I never thought I would get this opportunity again,” DJ said with gratitude.
DJ’s story is a powerful reminder of the strength of the human spirit—and the healing power of doing what you love.
“Focus on what you love, and your love will save you,” he advises.
From Paul Wittgenstein’s commissions to DJ’s comeback, the story of one-handed pianists is one of resilience, innovation, and undying passion for music. It proves that even with five fingers, the heart can still play the full symphony of life.
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