As he would for his Romance in G, Beethoven chose a two-episode rondo format (A,B,A,C,A, coda) for the brief, lyrical Romance in F. The rondo section (A) features an antecedent-consequent theme (we just talked about this yesterday) performed first by the soloist, with orchestral string accompaniment, then by the entire orchestra. The melody itself is highly decorated, with numerous trills, turns and grace notes. A forceful, dotted-rhythm figure that closes each appearance of the rondo acts as a transition to the ensuing episode. Episode B maintains the lyric character of the rondo theme, adding large, dramatic leaps followed by descending scales and arpeggios. A glimpse of F minor precedes a literal return to the rondo, this time performed with a lighter accompaniment. The minor mode at the end of episode B proves to be portentous, as episode C begins in the tonic minor. Beethoven makes full use of the "flat" key area by presenting the rondo theme on D flat major, initiating an extended transition back to F major for the final return of the rondo theme. The coda, while never venturing from the tonic, acts as something of a summation when the soloist borrows the triplet motion prominent in episode C and performs a dramatic, trilled figure from the end of episode B.
Usually recorded by solo violin and orchestra, here we have the arrangement for violin and piano:
Romance for Violin and Orchestra 2 in F, Op.50 (1798)
(Violin, Louise Chisson. Piano, Tamara Atschba.)
Here are the approximate start times for each of the sections, which should help alot with the above rundown:
A - 0:05
B - 1:38
A - 3:11
C - 4:39
A - 6:14
Coda - 7:02
The "traditional" version (as originally composed for violin and orchestra) is here performed by Ann Fontanella. Anne's a fantastic violinist and her annotations are quite wonderful as well.