The period-instrument colonisation of the 20th-century French orchestral repertoire, pioneered by François-Xavier Roth and Les Siècles, continues with Jos van Immerseel and Anima Eterna Brugge's disc of two of Ravel's best known arrangements. It's very interesting but not entirely successful. As always with Immerseel and his band, attention to detail is faultless, and it's good to hear more portamento in their phrasing than we're used to; the violin solo in the last movement of Ma Mère l'Oye is delightful, and the trumpet's slurs in Promenade of Pictures at an Exhibition seem just right. Such small-scale revelations are found in both works, but real character is lacking – not the plushness of modern-orchestra versions of Pictures, but something more fundamental. The Market Place at Limoges hardly bustles, The Hut on Fowl's Legs is too civilised, while the final Great Gate of Kiev lacks majesty. It seems too much of an historical exercise, and not enough of a real performance.