 Although the title-page of op.1 specifies only the harpsichord, Eckard's preface extends the performance of the work to the piano; and his meticulous indication of dynamic shadings (e.g.no.6, second movement), a practice previously unknown in this period, clearly shows his preference for the latter instrument.Both the piano and harpsichord are specified on the title-page of his op.2, and the music reveals an even greater consideration for the idiomatic characteristics of the new instrument.