Jan Ladislav Dussek (1760–1812) occupies a vital place in the London piano school and stands as an important precursor to Beethoven’s early piano style. His Piano Sonata in D Major, Op. 31, No. 2 is in a compact three-movement fast-slow-fast design. The first movement opens with a lively, torrent-like motif that is particularly well suited to the Broadwood piano, whose rich resonance lends a representative turbulence and vitality to the music. The movement is in sonata form, with a quite brief development section of only three lines in the score. Its compactness and energetic character highlight the directness and clarity of Dussek’s musical language. The second movement serves as a graceful intermezzo between the two cheerful outer movements. Its concise ABA form creates an elegant contrast, with lyrical phrasing and an unhurried character. On the Broadwood, the damper pedal demands special attention to preserving the transparency and delicacy of the movement, since changes are considerably more perceptible than on a modern piano. The finale is a pastoral rondo movement built around the recurring return of its principal motif. Here, Broadwood’s special pedal system opens up particularly interesting possibilities. The instrument has two damper pedals, each controlling approximately half of the keyboard, as well as an una corda pedal. Combining the una corda with one of the damper pedals (here the one for the lower register), while softening the entire keyboard, can produce subtle changes of color and resonance with each return of the motif. Exploring these pedal combinations is an important part of performing this movement on this instrument. Each recurrence of the pastoral theme can thereby acquire a slightly different character while remaining organically connected to the whole. The process of discovering such possibilities is a big part of why performing and hearing Dussek on this remarkable historical piano is so rewarding.