The double concerto and its variants, such as concerti grossi, was a popular genre in the Baroque era; in the Classical era, however, most composers shifted their focus to the composition of concerti for solo instruments. The double concerto reappeared in the Romantic era, now written for two soloists with orchestra. A notable contribution to this repertoire is the Double Concerto for clarinet and viola in E minor, Op. 88 (1911) by the prolific German composer Max Bruch (1838--1920). The Double Concerto was transcribed for violin and viola as well. This document will serve as a performance guide for Bruch's Double Concerto as it pertains to the violin and viola transcription. I will broadly describe performance practice for the piece within the context of the German Violin School developed by Louis Spohr (1784--1859), addressing technical issues such as phrasing, portamento, vibrato, and tempo rubato according to Spohr's 'fine style'. By presenting Bruch's Double Concerto as an example of the German School, this document will illuminate how best to perform the work in an authentic German Romantic style.