You'd normally look on the phrase "Prescient music critic" as something of an oxymoron, but here's a remarkable example, taken from Misha Donat's wonderful programme notes for the Wihan Quartet's performance at Blackheath Halls of Beethoven's Op.130.

The Op.130 quartet was originally written with a long, complex last movement of fantastic intensity - and very avant-garde for its day. Writing after its premiere in 1826, the reviewer for the Allgemeine musikaliche Zeitung commented: The first, third and fifth movements are serous, gloomy, mysterious, and at times bizarre, rough and wilful; the second and fifth full of wantonness, cheerfulness and mischief. In them, the great composer, who in his earliest works especially only seldom managed to find the right proportions for his objectives, has expressed himself with unusual brefity and concision. A repeat of both movements was demanded with stormy applause. But the meaning of the fugal finale is something the reviewer cannot explain: for him it was as incomprehensible as Chinese... Perhaps something like this would not have been written if the Master could hear his own compositions. But we should not dismiss it too hastily: perhaps the time will come when what seems to us at first sight opaque and confused will be perceived as clear and pleasing. Beethoven's publishers prevailed upon him to write a shorter, simpler last movement: the original was subsequently published as the "Grosse Fuge", Op.133. It is now considered one of the pinnacles of string quartet writing. Hearing the Wihan play it in its proper place at the end of the Op.130 quartet was a joy.

Maybe the German reviewer was being sarcastic - but if not, how right he was!