Staier, playing a pure-toned Erard piano of 1837, conveys its otherworldly aura very well. He makes a strong case, too, for the unduly neglected Fantasiestücke Op. 111...In these, Staier is more successful with Schumann's good-natured humour than with the more impassionated side of his character.

Staier, whose performances are always thought provoking, uses all his pianistic excellence and musicianly guile to engage the ear and mind of the listener … this was both an enjoyable experience and an edifying one.

Staier never does anything that is less than compelling...Where interpreter and keyboard particularly score is in the Abegg Variations, not least the left-hand crossings of the third variation, which have never sounded cheekier...This is a fascinating juxtaposition of early and late Schumann.

Staier plays it [Variationen] with easy assurance and charm…Staier plays them [Fantasiestücke] with the same dedication, spontaneity and pianistic refinement that he brings tp the earlier and more effusive works.

The Erard, which dates from the same year as the Op.12, 1837, sounds wonderful. Even ardent admirers of large modern grands will find a lot to enjoy here…very accomplished.

The sound of Staier’s 1837 Erard instrument will doubtless divide devotees of period pianos and modern Steinways...Yet in two sets from opposite ends of Schumann’s career...Staier’s virtuosity and stylish conviction eventually won over my ears.