First among minor church pieces we may consider the "Regina coeli." Two of these works, belonging to May, 1771 and 1772 (108, 127, K.), are of similar plan and treatment. The first line is made into an animated chorus, with the constantly recurring Alleluia as a refrain; the second is more moderate in tone, a soprano solo alternating with the chorus. The "Ora pro nobis" is an Adagio for the solo soprano; the chorus chimes in at the close with the Alleluia. The character of the whole is lively and cheerful, almost merry, according to the prevailing tendency of the age. Full opportunities for display are given to the solo voice, and many of the turns and passages are operatic.[41] The earlier of the two compositions, in C major, reminds us more of opera seria; the later, in B flat major, is freer, and both voices and accompaniment have more independent life. A third Regina coeli, evidently of later date (276 K.), in C major, combines the whole into a lively movement, in which the solo voices interrupt the chorus. The claims of the vocalist are here kept in abeyance, and the work is full of life and energy, with here and there passages of a deeper significance, such as the beautiful "Ora pro nobis."[42] {SMALLER SACRED PIECES.} (277) A "Tantum ergo" in B flat major (142 K.), for soprano solo, with a responding phrase for the chorus, closing with a lively Amen, is not remarkable. A second composition, in D major, (197 K.) for full chorus, if by Mozart at all, must have been written very hurriedly. A Motett in C major (117 K.) must, according to the handwriting, be ascribed to a very early date.[43] A lively chorus Benedictus sit Deus, without actual thematic elaboration but with a free arrangement of the parts, forms the introduction to a soprano air, Introibo domum tuam domine treated like a cavatina, simply, although not altogether with out embellishment. The conclusion is formed by a second lively chorus, Jubilate Deo, of which the second subject is the eighth psalm tone--[See Page Image] supported by the four parts of the chorus in succession, to a florid accompaniment of the orchestra, the full chorus each time responding with a lively "Jubilate." [44] An Offertorium of uncertain date, "Benedicite angeli" (342 K.), is exclusively founded on the fifth psalm tone. The verse--[See Page Image] is repeated in unison eight times by the whole chorus, while the orchestra, consisting of stringed instruments with two {CHURCH MUSIC.} (278) horns, keeps the whole together, and gives it intensified expression by means of a lively and varied accompaniment.