The uniqueness of this single CD is that it offers the Ballades and Scherzos complete played on two original instruments of Chopin's own time. For the first pair of each set Cyril Huve uses a Pleyel of 1828/9 (recently restored by Alain Moysan) claimed as the oldest known model by that eminent French maker, whose firm's light action appealed to the young Chopin no less than it did to the young Clara Wieck in early days in Paris. The third and fourth works in both sets in their turn are played on an Erard of 1838 (restored by Patrice Sauvageot) personally chosen by Chopin for Mademoiselle de Tremont, one of his pupils; this, Huve tells us, is of the kind such as the composer might have enjoyed in later years at Nohant. In his discerning insert-note Huve enlarges on the issues affecting his choice (in preference to the ''relatively neutral tone-quality of modern instruments'') in the belief that it encourages a more ''vigilant'' interpretation of the Urtext—not least in matters of Chopin's very meticulously notated pedalling. The real bonus is nevertheless that Huve himself is no mere antiquarian, but an artist. Such is his poetic phrasing, his intuitive response to the music behind the notes, that I suspect that even if he'd chosen a piano accordion, much of Chopin's own voice would still have come through.
Of the two keyboards I thought the Erard the more mellow, in fact more pianoforte than fortepiano. Its tonal contrasts (i.e. chorale-like depth and silvery waterfalls) in the second idea of the Third Scherzo are as ear-catching as its delicately glistening, decorative treble quavers in the course of the Fourth. Both they and the last two Ballades are allowed generous time to speak—I even wondered if the Third Scherzo was just a shade too deliberate for its presto con fuoco marking. But there's no holding back in the four earlier pieces, especially the first B minor Scherzo, where Huve not only leaves you in doubt as to the fluency of his Pleyel but also its more acerbic bite. Now and again it lacks strength up at the top (like that high F in the Second Scherzo first heard in track 3 at 0'31''), yet makes amends by singing very beautifully too, as in the First Scherzo's central lullaby and the recurrent, gently rocking 6/8 theme in the Second Ballade. Good marks to the recording engineers throughout.'