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The Chopin correspondence is full of hints about a Third Piano Concerto that never surfaced as a complete autograph manuscript. Letters written by the composer, his father, his publishers and pupils all make mention of such a work from late 1830 until 1841. In letters to his publisher, Chopin identified the seldom-performed solo work Allegro de Concert, Op.46, which was eventually published in 1841, as the first movement of his Third Concerto, and is reported to have sent the music to a colleague in Poland saying, "This is the very first piece I shall play in my first concert upon returning home to a free Warsaw." That opportunity unfortunately never came.
The Allegro was most likely composed in the early 1830s, shortly after the two well-known concertos, in F minor and E minor. Its style and structure readily suggest its adaptability to a succession of contrasting solo and orchestral sections mandatory for a concerto of the period. Concertos were occasionally performed in part or whole as solo pieces - at Chopin's Paris debut concert in February 1832 at the Salle Pleyel, he performed the F minor concerto as a solo - and Chopin is thought to have performed the Allegro of the new concerto as a solo at a soiree given by his Paris publisher Maurice Schlesinger in 1834.
Building on these facts, Alan Kogosowski has orchestrated the Allegro de Concert - he is not the first to have done so - also filling out its formal structure with a second subject taken from the introductory section. He has employed an orchestral ensemble identical to Chopin's two published concertos, with the addition of a second trombone. For the finale, Kogosowski made a calculated and educated leap of imagination to choose the glittering Bolero in A minor/major (same key as the Allegro - an unusual one for Chopin), Op.19, which is a solo piece of the same period - 1834 - one that fits into no category, as do virtually all of Chopin's works. It has a rondo form typical of that found in the finale of a concerto, and a ready-made cadenza. It provides a fitting conclusion to a beautiful work that would otherwise have remained unperformed and hardly known.