Concert pianist Paul Wittgenstein lost his right arm during the First World War. Rather than abandon his career, he commissioned works for the left hand from some of the great composers of his day, including Benjamin Britten, Sergei Prokofiev, Richard Strauss, and of course Maurice Ravel.

This Sunday night on “The Lost Chord,” we’ll highlight two of Wittgenstein’s lesser-known commissions.

In 1922, Wittgenstein approached Paul Hindemith – at 27, a rising star of German modernism, indeed the radical avant-garde – to produce his “Klaviermusik mit Orchester.”

Wittgenstein’s reaction to the piece is unknown, although we can easily surmise. He never played the work in public. Furthermore, since he had secured exclusive performance rights, he wouldn’t allow anyone else to play it, either.

Following the pianist’s death in 1961, his widow relocated to a farmhouse in Bucks County, Pennsylvania, where for decades she kept all of her husband’s belongings in a single room. When the estate was finally catalogued in 2002, a copy of the Hindemith concerto was discovered among Wittgenstein’s effects, along with other scores, correspondence, and items of interest, including locks of both Beethoven’s and Brahms’ hair.

It was Leon Fleisher who gave the belated premiere of the concerto, some 80 years after it was written, with the Berlin Philharmonic, conducted by Sir Simon Rattle. I was present at the U.S. East Coast premiere, with Fleisher and the Curtis Symphony Orchestra, conducted by Christoph Eschenbach. Listen carefully to see if you can hear me applauding, in a recording made at Philadelphia’s Verizon Hall, at the Kimmel Center for the Performing Arts, on April 27, 2008.

As a rule, Wittgenstein gravitated toward composers of a more Romantic bent. Erich Wolfgang Korngold was one of music’s most astounding prodigies, a Viennese wunderkind and celebrated opera composer, who later achieved world fame in Hollywood. There, he produced over a dozen classic scores, for films like “Captain Blood,” “The Adventures of Robin Hood,” and “The Sea Hawk.”

His greatest operatic success was “Die tote Stadt,” given its debut in 1920. Korngold was 23 years-old. In 1922, he became the first composer approached by Wittgenstein for a left-hand piano concerto. (It was the same year, by the way, that Wittgenstein enlisted Hindemith.) The result was the Piano Concerto in C-sharp. Tonight, Marc-André Hamelin will be the soloist, an outstanding virtuoso figuratively playing with one hand tied behind his back.

Interestingly, Wittgenstein much preferred this piece to Ravel’s Concerto for the Left Hand. It was the Ravel, commissioned in 1929, that would secure his place in music history, but he must have felt Korngold’s Romanticism and sense of struggle played more to his strengths. For whatever reason, Korngold became a Wittgenstein favorite. In the few minutes remaining at the end of the hour, Leon Fleisher will return to the keyboard for a performance of the “Lied,” the ardent slow movement of Korngold’s Suite for Two Violins, Cello and Piano Left-Hand.

I hope you’ll join me for “What’s Left?” – rarely-heard commissions by Paul Wittgenstein – on “The Lost Chord,” this Sunday night at 10:00 EST, on WWFM – The Classical Network and wwfm.org.