Of all the orchestral works of Richard Strauss, the one that premiered in Dresden on today's date in 1925 ranks amount the least-known. For starters, it has an odd title, "Parergon to the Symphonia Domestica." "Parergon" means "an ornamental accessory or embellishment," and so Strauss meant his new work, written for piano left-hand and orchestra, was a follow-up to his earlier "Symphonia Domestica," a tone-poem written two decades years earlier, and a musical depiction of one day in the Strauss family household, complete with baby's bath. The baby in question was Strauss's son Franz, who by 1925 was a young man setting up his own household, and had recently recovered from a near-fatal case of typhus contracted while on his honeymoon in Egypt. For Strauss, this "Parergon" was a private celebration of his son's survival. For Paul Wittgenstein, the wealthy one-handed concert pianist who commissioned it, the new work was one of several he had requested from leading composers of his day, all designed as a public showcase for his talent. As an Austrian soldier during World War I, Wittgenstein was wounded on the Eastern Front, and his right arm had to be amputated. Despite that loss, Wittgenstein had the means and the determination to continue his performing career. His contract with Strauss stipulated that he alone would have exclusive rights to the "Parergon" as long as he wished, and so it wasn't until 1950 that any other pianist could perform it.