Regina coeli KV 108 (74d) by Wolfgang Amadeus Mozart 4-Part - Sheet Music

By Wolfgang Amadeus Mozart

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 contrast which, in addition, underscores the predominant role of the solo soprano characteristic of the entire composition.

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Details

Summary
Instrument:
Choir Soprano Voice Voice Solo
Ensembles:
4-Part SATB Mixed Choir
Genres:
Classical Period
Composers:
Wolfgang Amadeus Mozart
Publishers:
Baerenreiter Verlag
ISBN:
9790006459070
Format:
Vocal Score
Item types:
Physical
Artist:
Wolfgang Amadeus Mozart
Arrangers:
Andreas Kohs
Usages:
Blessed Virgin Mary
Main Key:
C major
Size:
10.63 x 7.48 inches
Number of Pages:
26
Shipping Weight:
0.3 pounds
Detailed Description
Soprano voice solo/SATB choir/orchestra (Soprano Voice Solo, SATB Choir, Orchestra) - Level 3

SKU: BA.BA04886-90

Composed by Wolfgang Amadeus Mozart. Edited by Hellmut Federhofer. Arranged by Andreas Kohs. This edition: urtext edition. Stapled. Barenreiter Urtext. Vocal Score. K. 108 (74d). 26 pages. Duration 12 minutes. Baerenreiter Verlag #BA04886-90. Published by Baerenreiter Verlag (BA.BA04886-90).

ISBN 9790006459070. 10.63 x 7.48 inches. Key: C major. Text Language: Latin. Preface: Federhofer, Hellmut.

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 contrast which, in addition, underscores the predominant role of the solo soprano characteristic of the entire composition.

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