836, is the work in question.
Whether the "Andante" was composed at the same time, and what, if any,
alterations were subsequently made in the Polonaise, I do not venture to
decide. But the Polonaise has so much of Chopin's early showy virtuosic
style and so little of his later noble emotional power that my
conjecture seems reasonable. Moreover, the fact that the orchestra is
employed speaks in favour of my theory, for after the works already
discussed in the tenth chapter, and the concertos with which we shall
concern ourselves presently, Chopin did not in any other composition
(i.e., after 1830) write for the orchestra. His experiences in Warsaw,
Vienna, and Paris convinced him, no doubt, that he was not made to
contend with masses, either as an executant or as a composer. Query: Is
the Polonaise, of which Chopin says in July, 1831, that he has to leave
it to Wurfel, Op. 22 or another work?

Two other projects of Chopin, however, seem to have remained
unrealised--a Concerto for two pianos which he intended to play in
public at Vienna with his countryman Nidecki (letter of December 21,
1830), and Variations for piano and violin on a theme of Beethoven's, to
be written conjointly by himself and Slavik (letters of December 21
and 25, 1830). Fragments of the former of these projected works may,
however, have been used in the "Allegro de Concert," Op. 46, published
in 1842.

In the letter of December 21, 1830, there is also an allusion to a waltz
and mazurkas just finished, but whether they are to be found among the
master's printed compositions is more than I can tell.

The three "Ecossaises" of the year 1830, which Fontana published as Op.
72, No. 3, are the least individual of Chopin's compositions, and almost
the only dances of his which may be described as dance music pure and
simple--rhythm and melody without poetry, matter with a minimum of soul.

The posthumous Mazurka (D major) of 1829-30 is unimportant. It contains
nothing notable, except perhaps the descending chromatic successions of
chords of the sixth. In fact, we can rejoice in its preservation only
because a comparison with a remodelling of 1832 allows us to trace a
step in Chopin's development.

And now we come to the concertos, the history of which, as far as it
is traceable in the composer's letters, I will here place before the
reader. If I repeat in this chapter passages already quoted in previous
chapters, it is for the sake of completeness and c