Johann Gottfried Eckard (1735-1809) was the first composer in Paris (where he was active, despite his German nationality) to conceive sonatas expressly for the piano. Recognizing the capabilities and potential of the instrument, he wrote works with characteristics idiomatic of the piano, including a range of dynamic and expressive markings wider than can be realized fully on the harpsichord.
The selection of sonatas presented here shows Eckard to be an imaginative and resourceful composer. Occasionally he relies too heavily on a routine Alberti bass accompaniment, but overall his writing has an elegant melodic style. Brigitte Haudebourg is principally a harpsichordist and she brings a suitably crisp articulation to these works which contrasts with the very different colour she produces from her fortepiano in the slow movements. Her performances are crafted with a natural poise and musicality, and portray a freshness and enjoyment that makes a persuasive case for the music. The instrument is one of the better fortepianos I have heard. It is well tuned and regulated, and is near enough the harpsichord end of the spectrum, with a pert and linear sound, to discourage direct comparisons with a modern grand. At bargain price, and excellently recorded, this is well worth hearing.'