Such reviews as this we now write of would be scarcely worth noticing, if it were not for the fact, that they are accepted by the uninstructed, for real _bona fide_ musical criticisms, founded on actual knowledge. One might have expected that Mr. Saroni’s rebuking exposure of his Musical Trinity Article, would have startled the author into something like modesty; and when one sees how reckless he is, it makes one wish that Mr. Saroni would carry his threat into execution, and publish those “certain articles” on Mozart’s Don Giovanni, which bear such a remarkable similarity to Mr. Dwight’s lectures. M. Bombert says, in his “Life of Mozart,” when speaking of this Opera of Don Giovanni— “He (Mozart) shines in the awful accompaniment to the reply of the statue—a composition perfectly free from all inflation or bombast—it is _the style of Shakspeare in music_.” Now for Mr. Dwight’s patch-work—straightway he snatches up this idea of M. Bombert, and makes use of it thus: “The splendid sinner’s end is rather melo-dramatic in the Opera, and yet there is a poetic and moral truth in it—and _the spectre of the commendatore is a creation fully up to Shakspeare_.” This is literary murder as well as literary theft. Now any one who knows any thing of this Opera will see that the “_creation of the commendatore_” has nothing remarkable in it, but the _Orchestral Accompaniment_ is one of the grandest things ever composed. Mozart cared very little for the stage part of the affair; and this is proved by the finest music in this Opera being given to the Orchestra. We have heard—we cannot give the authority—but we have read somewhere, that a contemporary critic said that Mozart had put his statue in the Orchestra, and left only the pedestal on the stage—and this is true. Mr. Dwight gives such an exaggerated, spun-out account of this famous Opera, endeavoring at the same time to gloss over the gross, vulgar, immorality of the plot, with all that confused mysticism peculiar to this Harbinger and Phalanx style of composition, that we will sketch a short matter-of-fact outline of it. Mr. Dwight, with the usual insane transcendental desire to apply an epithet, and make a speech, says, in a short sentence, which he thinks very comprehensive, that it “_is an old middle age Catholic story_;” making a sort of defense for the shocking immoralities in it, by accusing, impliedly, the strict discipline of the church for the libertine hero’s licentiousness, to whom he applies another string of expletives. In the opening, Mr. Dwight calls him “_a large, imposing, generous, fascinating creature_.” Now he has him “_an elegant, full-blooded, rich, accomplished, and seductive gallant_.” A sort of “_a love of a man_” according to Mr. Dwight’s ideas.