As a Times reader, I've learned to expect--even endure--Martin Bernheimer's bombastic bark and alliterated attitudes. But when Dan Cariaga flaunts phrases such as "apprehendable architectonic continuity" ("Tilson Thomas Strikes a New Note at the Bowl," Aug. 1) and Donna Perlmutter's flowery prose blooms with "limpid loveliness" ("Weiss Plays Beethoven at the Bowl," Aug. 10), I begin to have my doubts.
Granted, words are the necessary vehicle of the music critic. Their purpose, however, should not be to revel in hollow poeticism and self-indulgent verbosity, but to discuss and review the concerts. You do remember the concerts, don't you. . . ?