The best-known composition of the Latin Regina caeli for Eastertide is K. 276, a setting for four soloists, choir and orchestra, probably written in 1779.
When Wolfgang Amadeus Mozart was working at Salzburg Cathedral, he set the Latin Marian antiphon Regina caeli for Eastertide[1] three times.
The earliest is K. 108, a setting for soprano, choir and orchestra,[2] written in May 1771[3][4] after Mozart's return from Italy.
In the second movement, the setting of the text is dominant, with precedence over musical form, such as choral interjections "Resurrexit" within an arioso "Quia quem meruisti".
[1] Mozart's third setting of the Marian calls for an orchestra of two trumpets and timpani, two oboes, strings and basso continuo.