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I think perhaps it's because part of the depth of emotion that Chopin's piano works have comes from the fact that it's all funnelled through the sparseness of one instrument, taking it almost to its limit of expressiveness (for instance the opus 48 no.1), whereas when the same ideas get fully orchestrated they get a bit flabby. I don't know...
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That's actually a rather incisive statement. Despite their beauty, I've often thought there was something "missing" from Chopin's concerti, and haven't been able to put my finger on it quite.
I've also read that because Chopin was of a frail constitution physically, despite his exquisite technique, he lacked the stamina to make the relatively lightweight instruments of his day resound the way his contemporaries could. His solution was to make his concerti more lyrical than loud and flashy, so they seem a little wan in comparison. This is also why he preferred to play in intimate settings.