Erin Helyard's performance of piano masterworks from the 18th and 19th centuries combined virtuosic skill with erudition in a warm, intimate atmosphere. How wonderful that one of the world's foremost young musicians, who teaches historically informed performance practice, should give such an exhilarating concert at the ANU School of Music. How devastating that he will be leaving to take up employment next year at the University of Melbourne.

Wednesday night's concert was a celebration of Viennese piano technology of the 18th and 19th centuries, in particular, the straight strung Viennese action. Helyard played works from the period on the McNulty Conrad Graf replica, the McNulty Walter replica and the original 1862 Hornung & Moller square (cross strung).

It is such a delight to be led into a completely different, nuanced sound world by musicians of Neal Peres da Costa's or Helyard's stature. Nowhere was this more evident than in the opening work – Sonata in F major K533/494, written in 1788 by Mozart. Played on the replica Walter, the notes sounded with sparkling clarity and velocity; the tone was warm and distinctively "sproingy", particularly in the bass. Each note on this piano has its own personality. The Andante was arresting for its brittle lucidity and for the particularly modern-sounding cadences; the Rondo memorable for the delicate articulation in the rapid treble runs.

Beethoven's Seven Bagatelles Op.33 are works in which some of the earliest pedal markings were indicated in the manuscript, reflecting how the evolving capacity of piano mechanisms to sustain sound captured the imagination of composers. Helyard's rippling confection of runs in the Andante Grazioso Quasi Allegretto was the prelude to further dynamic and textural explorations, as he exploited the powers of the damper and muting technologies. At one point in the Allegro Ma Non Troppo the bass sounded almost like the urgent tones of a harpsichord. Skilful use of the mute in the final Presto created the illusion of the melody suddenly removed by magic into the far distance.

After interval Hummel's ravishing compositional style brought out the full power of the McNulty Conrad Graf – with a more integrated tonal quality. Helyard kept a continuous river of notes flying from his fingers to bring the instrument to life. Three lovely Polonaises melancoliques by Mozart's son explored introspective emotions in broken, stretched rhythms and a climbing, searching treble melody. A surprisingly lovely lyre effect in the upper register was achieved in the Espressivo.

On the Hornung & Moller square, Brahms' Rhapsody in G minor took on an almost Gothic intensity, and this work illustrated the very different sonority of a cross-strung, domestic piano.

Helyard's version of Schubert's Impromptu in G Flat Major on the Graf was a truly beautiful performance. His tasteful use of the pedal and damping mechanisms created an ethereal clarity of sound, liberating each successive musical idea to communicate the composer's intention to all those listening.