Restauración de mandolina Embergher

de 1895
https://alejandrofuentesluthier.wordpress.com/2012/07/18/restauracion-de-mandolina-
embergher-de-1895/

Publicado el julio 18, 2012 por alejandrofuentesluthier

He restaurado una mandolina de Luigi Emberguer fechada en Roma en el año 1895. El

proceso ha sido largo y meticuloso ya que hubo que abrir por completo el instrumento.

La tapa estaba deformada y el diapasón curvado lo que hacía imposible que fuera tocada.
Tuve que levantar el diapasón y la tapa.  La tapa armónica desprovista de sus barras fue
domada hasta que volvió a su forma original para después unirla al cuerpo del
instrumento.  Corregí el diapasón con una mínima e irregular lámina.

Por otra parte le faltaban alguno de los adornos de nácar y carey del borde de la tapa que
repuse con piezas del mismo material.

Todo lo hice con las maderas originales. El puente es completamente nuevo ya que no se

conservaba el de época.
Os muestro algunas fotos  del proceso.

 
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Embergher
Instruments – Mandolino per concertista e
solista
In writings Embergher advertises these models as being his top instruments. Everything he
stood for about quality of sound, perfection and playability was united in these models,
something that is evident because of the best choice of wood and materials. The preserved
mandolins from around 1900 mostly have a scratch-plate with the butterfly design. Later
however Embergher used the famous roman design with the rolled parchment. Interesting
to notice is that, on the early designs, the rolled parchment on the left goes straight
downwards, parallel to the strings. The later the model, the more diagonal the parchment is
placed. These slight changed in design can also be seen at the rosette: First we see very
refined inlaid mother of pearl while later ivory and even later imitation-ivory (ivorine or
white celluloid) is being used. These instruments as well as the N. 3 (which already has a
lot of the features of the concert models) were always signed by the maestro himself using
an ink written signature on left side rib inside the body.

Mandolino per concertista e solista Model No. 5 / Mandolin for concert performer and
soloist Model No. 5
 Luigi Embergher
Mandolin Soloist model No. 5 (1897).
Note that the highest two frets are covered with a metal cap with which it is possible to adjust the
tip of the fingerboard to the hight of the 1st string pair

Mandol
in Soloist model N. 5 (1897) detail of the floating fingerboard, like the one described in the
catalogue (see below)
 T
ogether with Pauline Verschuren-Ulderink enjoying a recent find;
a Mandolin Soloist model N. 5 (1903)
 A close-up of the front of the
Mandolin Soloist model N. 5 (1903)
Note the early pearl of mother rosette design, the straight scrol. Both features, together with the
‘folded curtain’ inlay at the head, are typical of this period for this model
 And another early Mandolin Soloist model N. 5 (190?) that
surfaced at the internet.
 Embergher
Mandolin Soloist model N. 5 (1904)
 Some Cose-ups of the
head and patented Embergher mechanic and of the rosette on the Embergher Mandolin Soloist
model N. 5 (1904)

The handwritten signature

at the side in the bowl of the model No.5 above
Mandolin Soloist model N. 5 (1913).
 Close-up of the Mandolin
Soloist model N. 5 (1913).
Note the fingerboard with 24 frets under the 2nd and 29 frets under the 1st string pair

Mandolino per concertista e solista Model No. 5bis / Mandolin for concert performer and
soloist Model No. 5bis
Luigi Embergher Mandolin Soloist model N. 5-bis (1927)
Side, front and maple back of a Luigi Embergher Mandolin Soloist model N. 5-bis (1927)
 R
osette, scratchplate and bridge close-up of the Mandolin Soloist model N. 5-bis (1927)
 Detail of the head and stamped ‘E L’ tuning
mechanics of the Mandolin Soloist model N. 5-bis (1927)
 Front and palissander
back of a Luigi Embergher Mandolin Soloist model No. 5-bis (192-). Photo published with kind
permission of mr. Claudio Ricca.
 Rose, scratchplate and bridge of the Embergher model No. 5-bis
(192-). Photo published with kind permission of mr. Claudio Ricca.

Side view of
theEmbergher model No. 5-bis (192-).
Photo published with kind permission of mr. Claudio Ricca.

Mandoliola per concertista e solista Model No. 5bis / Mandoliola (Alto Mandolin) for
concert performer and soloist Model No. 5bis
 The front side of a Luigi Embergher
Mandoliola Soloist model No. 5-bis (1905).
 Det
ail photos of the scratchplate, label and metal sleeve guard of the Luigi Embergher Mandoliola
Soloist model No. 5-bis (1905).

The rosette and tip of the

fingerboard of the Embergher Mandoliola Soloist model No. 5-bis (1905).
 The maple back of
the Luigi Embergher Mandoliola Soloist model No. 5-bis (1905).

Mandola per concertista e solista Model No. 5bis / Mandola for concert performer and
soloist Model No. 5bis
Front and back view of an Embergher Mandola Soloist model N. 5-bis (1921)
Side view of the Embergher Mandola Soloist model N. 5-bis (1921)

Close-up of the rosette on the

Embergher Mandola Soloist model N. 5-bis (1921)
 The
label inside the bowl of the Embergher Mandola Soloist model N. 5-bis (1921)

The
sleeve guard on the Embergher Mandola Soloist model N. 5-bis (1921)
 The right and left side of the
‘ancient lute’ head of the Embergher Mandola Soloist model N. 5-bis (1921)

And finally a close-up of the beautiful maple wood used for the bowl of the Embergher Mandola
Soloist model N. 5-bis (1921)
Mandoloncello per concertista e solista Model No. 5bis / Mandoloncello for concert
performer and soloist Model No. 5bis

Embergher Mandoloncello Soloist model N. 5-

bis (1908)

Front and right side view of the Embergher Mandoloncello Soloist model N. 5-bis (1908).
 rosette scratchplate and
bridge of the Embergher Mandoloncello Soloist model N. 5-bis (1908).

the head with the patented tuning machines of the Embergher

Mandoloncello Soloist model N. 5-bis (1908).
Back- and front view of the Embergher Mandoloncello Soloist model N. 5-bis (1908).
This Mandoloncello Soloist model N. 5-bis (1908) is exhibited in the Museum Vleeshuis in

Antwerp, Belgium. Collection Stad Antwerpen, Museum Vleeshuis, AV.1989.005.

LIUTO CANTABILE (early) per concertista e solista Model No. 5bis / Liuto cantabile
for concert performer and soloist Model No. 5bis
 Early Luigi
Embergher Liuto cantabile model No. 5bis (1897)
 Soundhole and rosette of the Luigi Embergher
Liuto cantabile model No. 5bis (1897)

Front and back of the lute

head on the Luigi Embergher Liuto cantabile model No. 5bis (1897)
 Bottom view and signature
with date inside the soundbox of the Luigi Embergher Liuto cantabile model No. 5bis (1897)

Side view of the Luigi Embergher Liuto cantabile model No. 5bis (1897)
The photos of this Liuto cantabile are published with kind permission of mr. Valery Afanassiev.

The catalogue states the following about this model:

Mandolino per concertista e solista

Description of the Mandolins Number 5 and 5-bis

Instruments for the concertista e solista, in richly curled maple- or palissander wood with
35 sculpted ribs, and with a varnished sound-table. – The manufacture of these instruments
is executed with great care and perfection and. – The principles of these mandolins are
based on the construction of the violin. Artists who have aspirations to be soloists will
gradually become aware of the many advantages of this instrument. – The fingerboard, a
proper system with 29 divisions, corresponds with the scale like that of the violin and
reaches up to a””, ensuring the execution of every classical music composition.

Besides there is an important element added to the fingerboard, the enlargement of the
fingerboard under the second string up to g”’ to, as already mentioned above, be able to
perform all the music of the great Classics.

All extra ornaments are left out: these only blind the eye of the layman and destabilise the
harmony of the instrument. – Finally the mandolin is equipped with a patented mechanic,
that allow the strings to be changed rapidly and with very great ease, ensuring the tuning
to be prolonged for long periods.

The N. 5-bis differs from the N. 5 because of its head design in the form of an ancient lute
[Liuto antico].

N.B. This instrument is also constructed in Mandoliole (Alto-mandolins) – Mandole

(Mandolas) – Mandoloncelli and Mandolbassi.

Mandolino per concertista e solista Model No. 6 / Mandolin for concert performer and
soloist Model No. 6
 Embergher Mandolin
Soloist palissander wood model N.6 (1921)
 The
ivory lining between the two larger side ribs. Embergher Mandolin Soloist palissander wood model
N.6 (1921)

The ivory lining at the sides and base /

end-clashp of the Embergher Mandolin Soloist palissander wood model N.6 (1921)
 And, another view
of the palissander model N.6 (1925), on which the ivory lining on the side is indeed eye-catching.

And, another Embergher Mandolin Soloist model N.6 (c. 1930) in palissander wood.
Note the ‘dragon’ inlay on the scratch plate and the ivory lining at the side surrounding the end-
clashp and sides. Photo taken from the internet.

The catalogue states the following about this model:

Mandolino N.6

Elegant mandolin for concertists and soloists. – This instrument is identical to the N. 5-bis
differing only by the harmonious sound box with 39 sculpted ribs, the elegant ivory linings
at the sides and the inlay on the scratch plate. An instrument with a beautiful appearance.
– It is made in maple- and palissander wood.