Hamburgischer Correspondent (1790): Jean Bliesenet's Trois Duos pour deux Violons.

The first duet in G major begins with something exquisite. It appears to be an imaginative introduction that touches on different leading tones in the space of eleven measures, and only then turns to the actual scale, which is abandoned two measures later. The composer's genius shows itself most clearly in this duet; only occasionally does it burst forth too much.

Musikalische Monatsschrift (1792): Schwencke's Drei Sonaten and Trois Sonates.

The composer can certainly be trusted to separate the good and beautiful things in this early work from the less good, to cut out, of his own accord, the stormy confusion of his youthful Phantasie, which – unconcerned about strict unity – lets flow an abundance of ideas for good or ill, just as they present themselves.