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Beethoven violin concerto 2nd movement- A or Bb?

Author: m1964
Date: 2026-09-25 06:15

As in the post title: the original part is for a C.
I do not have a good C (got a plastic one), so found a part transposed for the A.
However, there are a few throat B-flats so I am thinking of trying it on a Bb.

Edit: just tried it on a Bb and it sounded more even and brighter, comparing to the A.
I do feel that the character changes quite a bit from the Bb to the A.

Did anyone play it? What clarinet did you use in the 2nd movement?

Thanks

P.S.
I found an older post on this, but it went sideways with some personal references...so please give me your opinions only if possible

Post Edited (2026-09-25 06:49)

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Re: Beethoven violin concerto 2nd movement- A or Bb?

Author: kdk
Date: 2026-09-25 13:46

m1964 wrote:

> As in the post title: the original part is for a C.

> Did anyone play it? What clarinet did you use in the 2nd
> movement?
>

It isn't hard to play on either A or Bb clarinet.

There's certainly an advantage to keeping the same clarinet (in A) that you're playing for the rest of the symphony. But the concert G half-notes are better on most Bb clarinets (throat A). Assuming you're rehearsing and performing this, try both out and see which works better with your individual instruments.

Karl

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Re: Beethoven violin concerto 2nd movement- A or Bb?

Author: lmliberson
Date: 2026-09-25 14:48

I have played this literally dozens of times, always on the A clarinet from beginning to end, as I learned from one of my teachers a long, long time ago.

If you can avoid picking up a cold (or semi-cold) instrument, do so, IMHO. After all, the first entrance is more than simply exposed!

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Re: Beethoven violin concerto 2nd movement- A or Bb?

Author: m1964
Date: 2026-09-26 00:28

lmliberson wrote:

" I have played this literally dozens of times, always on the A clarinet from beginning to end... If you can avoid picking up a cold (or semi-cold) instrument, do so"

There are 32-measure rest at the end of the first movement, then 3 measures of tutti. I could easily change the clarinets during the rest, and simply play last three measures on the Bb, and keep blowing air into the Bb to warm it up.

"After all, the first entrance is more than simply exposed!"

That's the problem I hear when playing the A. The very first sound is throat Bb, which on my A is not as good as throat A on my Bb.

I guess,I will try both and see how it sounds with the orchestra.

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