Via classical style, the romance – a genre intrinsically connected to the word – gets extrapolated to the sphere of instrumental music. The process of stabilization of classical romance’s features is connected to Mozart and Beethoven’s music, therefore, also to the concert and chamber-ensemble tradition. For Mozart, the romance is a topos (according to Kirilina) of a lyrical, cyclic movement (in a serenade and a concert), while Beethoven’s vision directly adapts this genre’s single part chamber-vocal form towards the concert (“Romances for Violin”, op. 40 and op. 50). Gradually, the romance forms extremely stable structural features (becoming a rondo), also regarding thematism, language, imagery and emotional nature. Via the progression from Mozart to Beethoven’s tradition, comes the formation of romance style: tradition derived by acquisition of older models.