Dvořák & Amy Beach: A Tale of Two Romances (Violin Edition, Not Tinder!)

Let’s be honest—when we musicians hear the word “romance”, we don’t just think late night texts and supermarket flowers. For us, the perfect romance is a violin singing its heart out, usually with an equally emotional orchestra or piano in tow. If you’re a fan of music that simultaneously makes you swoon and reach for a tissue, you’re in the right place.

At MyMusicScores, we love nothing more than unearthing gems from the musical chocolate box that is the “Romance” genre of the Romantic era (that’s 19th-century, not 1970s disco). And we’ve got two absolute corkers in store: Antonín Dvořák’s Romance in F Minor, Op. 11 and Amy Beach’s Romance for Violin and Piano, Op. 23, now revitalised in shiny new arrangements for violin and string orchestra by Paul Wood. Ready to fall in love? Grab your violin, find a string orchestra—and maybe a handkerchief or two!

Dvořák’s Romance: Czech Melancholy With a Wink

Let’s start with Dvořák—Czech composer, king of catchy tunes, and all-round nice chap (by most accounts). His Romance didn’t begin the piece we have all fallen in love with. It started as the slow movement of his String Quartet No. 5, a piece that never actually saw the light of day (we’ve all had projects like that—unfinished knitting, diy projects, anyone?).

Dvořák, never one to waste good material, resurrected it at the request of his friend Josef Markus. What emerged was the now-famous Romance in F Minor, Op. 11. Far from just recycling old ideas, Dvořák reimagined the whole thing with the wisdom of a more mature composer, almost like me turning last week’s bread into the world’s best bread pudding…

Musically, the piece is a single-movement marvel, marked Andante con moto. It starts in the plaintive key of F minor (bring your brooding face), but by the end has wandered into the sunshine of F major—hope springs eternal! The opening melody is full of longing and nostalgia (Dvořák was nursing his own heartaches at the time—it shows). But what really packs a punch is his wizardry with harmony. Unexpected turns and lush chords keep us on our toes and tugging at our heartstrings. As for our new version, it’s perfect for smaller string ensembles: all that lushness, a bit more elbow room, and just as many feels.

Ready for Romance?

Dvořák - Romance in F Minor for Violin & String Orchestra, Op. 11: Dvorak Romance for violin and string orchestra

Amy Beach’s Romance: American Daring and Dazzle

Let’s cross the Atlantic to a place that Dvořák loved and time-hop to late 1800s New England, where Amy Beach was out-classing most adults before she even hit primary school. Legend has it, she could sing dozens of songs from memory before she turned two. I still have problems remembering what I did at the weekend!

Sadly, things weren’t all showbiz glitz. Victorian society—and her own husband—did their best to keep her musical ambitions “safely contained”. Amy wasn’t allowed formal composition lessons (husbands making career decisions—what could go wrong?). So, she educated herself: poring over scores, translating French textbooks, and basically outsmarting the patriarchy one chord at a time.

Beach’s Romance for Violin and Piano, Op. 23 premiered at the 1893 Chicago World’s Fair, in the Woman’s Building—a groundbreaking showcase of female achievement. Amy herself played piano alongside legendary violinist Maud Powell. The piece itself is pure swoon: a haunting violin melody, lush harmonies, and an intimate musical conversation between two equals. No showboating by the violin, no “look at me!” from the piano—just teamwork at its most musical.

And with our new arrangement for violin and string orchestra, Beach’s heartbreaking dialogue becomes an epic story told by a whole string section (more is definitely merrier here).

Add a Bit of American Sparkle

Amy Beach - Romance for Violin & String Orchestra, Op. 23: Beach Romance for violin and string orchestra

What Makes These Romances So Irresistible?

Both Dvořák and Beach deliver that special romance formula: yearning melodies, delicious harmonies, and an overall vibe that’s 90% heart, 10% tears (sort of like watching a particularly moving episode of a good Netflix series). They share a theatrical sense of longing and nostalgia—but with their own unique twists.

• Dvořák: Czech folk influences and hints of Brahms, topped off with the sort of melodic ease that makes violinists want to play all day (and sometimes, with enough rehearsal, into the night).
• Beach: Richly American, deeply lyrical, and forged in the fires of adversity. Her music’s tender yet powerful, never sentimental, always sincere.

Both works are classics of the Romantic “Romance” genre, and both prove—regardless of birthplace, background or random key changes—that music is the world’s true universal language.

Which Would You Pick? (And Why Not Both?)

Dvořák when you’re feeling deep and philosophical; Beach when you want a hint of adventure and a side of quiet heroism. Or better yet, perform both and dazzle your audience with double the emotion!

If you’ve got your own favourite musical romances (especially if they come with a big tune and a backstory), pop them in the comments. And if you’re itching to try these, just follow the links above—no dating app required.