In its expression and structure, the “Regina coeli” K.108 (74d) in four movements, composed in Salzburg in May 1771, clearly shows that Neapolitan church music served as Mozart’s model. The two outer movements, in which a primarily homophonic chorus unfolds against a rich orchestral backdrop, enclose two soprano arias sparkling with coloraturas, of which the first aria has a choral epilogue at the end of each of its two sections.

Appositely, the last movement also picks up the solo-tutti cont...