Conductor Diego Fasolis and his very capable forces do everything they can to breathe life into these two competently written though stylistically mediocre and often painfully sentimental sacred settings. There are many moments where Durante builds and gradates the instrumental and choral textures just enough to convince you that the monotony will end–but no, it never does. Movements that ordinarily soar when set by other more genuinely inspired composers of a less conservative bent remain decidedly earthbound here (if there’s a duller Dixit Dominus or Magnificat anywhere, feel free to send up a flare). The sound is fine. No texts are provided, but then they hardly matter.
