I found this in la Belle Assemblé, 1825 Volume 2 and it struck me as being rather amusing:
NEW MUSIC.
PIANO-FORTE.
Grand Concerto, Op. 59, by J. Moschelles. — Chappell and Co.
Eighth Grand Concerto, by J. B. Cramer. — Boosey and Co.
Grand Concerto in F. performed by J. B. Cramer, by Mozart (reprinted). — Preston.
The two first of these concertos are master-pieces of science and execution. We should be inclined to say that Moschelles excelled in the force and beauty of his orchestral combinations, and Cramer in the facility and brilliancy of the piano-forte passages. We prefer the first and third movements of Moschelles, and the larghetto of the other. Mozart's composition, though considered as a masterpiece in its day, falls immensely short of the preceding works, and evidently proves the immense improvement, both in science and execution, that has taken place in music within a few years. Few ladies of any tolerable proficiency in the present day would object to playing it at first sight.
Would this be K 413 or K 459 in F major?
Presumably whichever of them is the least scientific. :)
The Literary Gazette
25th February, 1820
FORElGN DRAMA.
THEATRE ROYAL DE L'OPERA COMIQUE
FIrst representation of La Bergère Châtelaine, an Opera in three Acts. The story of this new opera, which carries us back to the chivalrous days of the crusades, appears to be borrowed from a German romance. The Lord of Rochefort, on his departure for Palestine, leaves his wife under the protection of his brother, who, losing sight of his most sacred duty, and eager to inherit the great wealth of his brother, overwhelms the poor Châtelaine with all kinds of indignity. To preserve her infant daughter from ill-treatment, the wretched mother, on her death-bed, charges Bertha, her faithful attendant, to convey the heiress of Rochefort far from the residence of her cruel uncle. Bertha retires to the territories of the young Count de Montfort, with the child, who passes for her daughter, under the simple name of Lucette.
At the age of eighteen, Lucette appears a model of beauty and virtue :— she captivates the heart of the young Count de Montfort, whose life she has saved after a combat in which he was dangerously wounded. The faithful nurse acquaints the Duke of Brittany with the Count's passion; and at same, time discloses to him the illustrious origin of the supposed shepherdess. Th Duke determines to put the Count's fidelity to the test; and for this purpose he introduces him to the beautiful Baroness de Courcy, as the lady he intends him to marry.
The fair Baroness, however, is no other than Lucette, disguised in a dress of the most costly description. Montfort, like a true lover of the eleventh century, though not insensible to the charms of the Baroness, firmly resolves to remain faithful to Lucette. He hastens to Bertha's cottage, where he finds his mistress attired in her humble habiliments.
The Duke, however, is not satisfied with this trial. He contrives another stratagem, and declares his intention of marrying the the shepherdess to Robert, a protege of the Bailly of the district, who takes the thing seriously, and abandons his village sweetheart for Lucette; finally, after once more introducing the Baroness, who vainly tenders her rank and fortune, the Duke rewards the fidelity of the lovers, and restores the young shepherdess to her rightful honours.
The piece was favourably received. The music, which is the production of M. Aubert, is deserving of praise, particularly the opening chorus, a quartett, and the finale to the second act, which was loudly applauded.