 So this instrument in a sense is a tool because it aids us overall in our understanding of Beethoven. It's not to say that what we understood about Beethoven before was not correct, of course not. It's just another one of those elements that add to or enhance our appreciation of him by being able to contextualise more what he was writing and how it would have sounded at the time. I'm Dr Scott Davy. I'm the deputy head of the School of Music and we're here in Llewellyn Hall today. And you can see behind me on the stage a number of instruments that are set up. I'm also the director of the Keyboard Institute and the Keyboard Institute is our collection of historical keyboard instruments. What's interesting about this collection is we have these instruments so that people can play music so that we can hear how they are intended at the time. Going back to the time of Johann Sebastian Bach, for example, it was more typical that a harpsichord was used even though the piano was in its very early days. So I'm sitting at an instrument which is a copy of something that was made by Anton Volta in 1796 and we know that this is fairly much exactly the type of instrument, a forte piano, the Beethoven would have had at the beginning part of his career when he was in Vienna. And compared to a modern piano, it's quite light and two people can lift this instrument easily and so in terms of its sound, it's also light and there's not as much resonance. And this instrument, I mean, most people know that pianos have pedals. This instrument doesn't have foot pedals. It has underneath the keyboard where I'm sitting here, there's two levers and one of those, the one on the right, operates the same as the pedal does on a modern piano. Now what's interesting for us is when we look at Beethoven's Moonlight Sonata, so this is something that many people know, it has an instruction at the beginning that the dampers have to be off the strings for the whole piece. Now on a modern piano, if we put the pedal down for the whole piece, it would sound horrible, it would sound muddy. But when we look at an instrument like this, we think, okay, well, maybe it was workable on this sort of instrument. And as a musician, it's interesting for me personally when I play this because I could play it in a certain way and it would actually sound a little bit clashy. You know, some of the resonance would be a little bit too strong. But then I can play it in a slightly different way, bring out certain notes more than others. And it actually sounds really beautiful. And the thing that's interesting is it says to us, Beethoven might have been more of a modernist than we're given credit for being. Yeah, and so that enhancement of our knowledge is added to through playing these instruments. And not only this instrument that I'm sitting at, now the one behind me with a cover on still, Beethoven was playing that at the end of his life. And so, and Schubert as well. And to be able to play that music on those instruments, again, adds to our understanding. So it's deeply useful to have these instruments.