- Introduction and variations on a German Air ("Der Schweizerbub") for piano in E major, KK. IVa/4, CT. 227 (B. 14)
- Scherzo for piano No. 1 in B minor, Op. 20, CT. 197
- Scherzo for piano No. 2 in B flat minor, Op. 31, CT. 198
- Scherzo for piano No. 3 in C sharp minor, Op. 39, CT. 199
- Scherzo for piano No. 4 in E major, Op. 54, CT. 200
- Variations on "La ci darem" from Mozart's Don Giovanni, for piano & orchestra in B flat major, Op. 2, CT. 225
Nikolai Demidenko has strong feelings about pedaling Chopin's music, according to the liner notes for this album, and those feelings serve him extremely well in the "Scherzos" here. He uses pedal for emphasis, not necessarily for blending and mixing colors, which could result in dissonances or cloudiness. His Chopin is clearer, with more clipped phrasing in many places, than typical performances of Chopin. Combining this terseness with Demidenko's sensitivity makes the "Scherzos" intense, thrilling, and beautiful, not maudlin or bombastic. The central portion of the "Scherzo No. 1" is soothing and gentle, just what the lullaby calls for, and while it contrasts greatly with the presto outer sections, it isn't a harsh contrast because Demidenko keeps his touch soft and smooth even while playing loudly and agitatedly. In "Scherzos No. 2" and "No. 3" he lets the intensity build over the course of each work so that they are gripping and exhilarating by the end. "No. 4" has a similar shape to "No. 2" and "No. 3," but a lighter attitude, with lithe, swift runs. The two sets of variations that frame the "Scherzos" are delightful bonbons, not too serious, but not too lighthearted or flashy either. All together, these are thoroughly pleasing performances by Demidenko of some of Chopin's most dramatic works.