(A note for colleagues: this is an approach that I use for focusing my impressions when comparing violins. Since I created it for my own use, it is a bit in shorthand. The idea is to play passages that tellingly reveal various characteristic traits (-hence, the repertoire suggestions-) and writing those impressions down. At first I usually do my testing alone. When I've seriously narrowed the field to two or three instruments, I try to play for a trusted colleague to test projection in general, as well as how and if various traits that I hear under my ear are coming across at a distance. It's important, if possible to try a violin in a hall, in orchestra and other gigs, etc. But at first it's most helpful to try the violin at home, or wherever you do most of your practicing, because those acoustics - good, bad, or indifferent - are well known to you.

 As to the violin's intrinsic value, authenticity, measurements, condition, etc. - that's a whole other subject. If you're not well-versed enough - and even if you are - try to get a disinterested expert to look at it.)

VIOLIN COMPARISON TEST

VIOLIN A                                                                                      VIOLIN B        

General Remarks

1. Across the strings, a. Opening of Beet. Con.

2. Across the  strings, b. Bruch

3. G string alone - Sibelius after cadenza. (There are many other good G str. passages - e.g. the opening of the Sibelius 2nd movt., the start of the Bloch Nigun, Tziganne, the Brahms 3rd Sonata, 2nd movt.)

4. D - Bruch 2nd mvt. opening

5. A - Mend. 2nd mvt.

6. E - Mend. opening to 1st, mvt., also when 2nd theme is repeated in E. Brahms 1st Sym.  2nd mvt violin solo etc.

7. Flexibility: Beet. seren. op. 8, violin variation, Haydn str, quartet passages

8. Pizz.

9. Roundness, solidity: Joach. cad. Moz.5, Viotti 22, end 1st. mvt.

10. Bach Chaconne

11. Brahms Con. Chords

12. Flow, long line: Brahms con. 2nd mvt.

13. 'Soul', expressiveness - open. Franck 3rd mvt.

14. Sonority, resistance: end, Vitali Chaconne

15. Across str. again: open. Tchaik.

16. Might one or the other be more suitable or characteristic for certain rep. or playing situations?

17. Other aspects not covered above

18. Overall preference, and why