Ludwig van Beethoven (1770 – 1827) was a German composer and pianist. Beethoven remains one of the most admired composers in the history of Western music; his works rank among the most performed of the classical music repertoire and span the transition from the Classical period to the Romantic era in classical music. His career has conventionally been divided into early, middle, and late periods. His early period, during which he forged his craft, is typically considered to have lasted until 1802. From 1802 to around 1812, his middle period showed an individual development from the styles of Joseph Haydn and Wolfgang Amadeus Mozart, and is sometimes characterized as heroic. During this time, he began to grow increasingly deaf. In his late period, from 1812 to 1827, he extended his innovations in musical form and expression.

Beethoven was born in Bonn. His musical talent was obvious at an early age. He was initially harshly and intensively taught by his father, Johann van Beethoven. Beethoven was later taught by the composer and conductor Christian Gottlob Neefe, under whose tutelage he published his first work, a set of keyboard variations, in 1783. He found relief from a dysfunctional home life with the family of Helene von Breuning, whose children he loved, befriended, and taught piano. At age 21, he moved to Vienna, which subsequently became his base, and studied composition with Haydn. Beethoven then gained a reputation as a virtuoso pianist, and was soon patronised by Karl Alois, Prince Lichnowsky for compositions, which resulted in his three Opus 1 piano trios (the earliest works to which he accorded an opus number) in 1795.

The Romance for violin and orchestra No. 1 in G major, Op. 40, was composed by Ludwig van Beethoven, one of two such compositions, the other being Romance No. 2 in F major, Op. 50. It was written about 1801, after the second Romance, and was published 1803, two years before the publication of the second. Thus, this romance was designated as Beethoven's first. Apart from the incomplete Allegro of a Violin Concerto in C (Bonn, 1790-92), an abandoned Concertante in D (1802), the Triple Concerto of 'Eroica' fraternity (1803-04), and the Benedictus of the Missa Solemnis, the only other works Beethoven left for violin are the two Romances with small orchestra Opp 40 and 50 from 1800-01 and 1798 (or 1795), printed in 1803 and 1805 respectively. Early ventures, these are precisely what their name implies—romances not adagios, portraits without specifics, verdant yet smoky. Within the opening a cappella phrase of the First murmurs the impulse from which the Kreutzer Sonata and Fourth Piano Concerto sprang. Lurking among the pages, 195 bars in all, legacies of old baroque affekt might be fancied. G major, symbolic of ‘things rural, idyllic and pastoral; all calm and peaceful passions; the deepest gratitude for sincere friendships and true love’ (Schubart).

Source: Wikipedia (https://en.wikipedia.org/wiki/Romance_No._1_(Beethoven )).

Although originally written for Flute, Oboes, Bassoons, Horns & Strings, I created this Arrangement of the Romance in F Major (Op. 50 No. 2) for Piano & Small Orchestra (Flutes, Oboes, English Horns, French Horns, Bassoon, Violins, Violas, Cellos).