For purists,
Gavin Bryars has raised issues of appropriation in his contemporary adaptations of fourteenth century Cortonese laude, but it is sometimes difficult to know how much of the material on Oi Me Lasso he has quoted and how much he has elaborated. In their original form, these sacred songs were written for unaccompanied soprano voice; one can be sure that the drones, passing dissonances, and instrumental parts are
Bryars' inventions, and that he has reshaped the pure vocal lines to his own expressive needs. Devotees of early music will blanch at the liberties
Bryars takes -- particularly in his use of viola, cello, and double bass -- but casual listeners who liked Chant and other serene discs promoted in the 1990s as "chill-out" music will welcome this gentle, meditative CD. Indeed, the melismatic parts for soprano Anna Maria Friman and tenor
John Potter are relaxing and beautiful in their elegant contours and melancholy modes, and nothing loud or abrasive disrupts the placid mood that is maintained from beginning to end. Add to this the warmth of the performances, the crystalline reproduction in a resonant venue, and the informative booklet with complete texts, and this is sure to be a favorite among
Bryars' already popular albums.