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 is being used. These instruments as well as the N. 3 (which already has a lot of the features of the concert model) were always signed by the maestro himself using an ink written signature on left side rib inside the body.

The handwritten signature
Mandolin Soloist model N. 5 (1904)
Mandolin Soloist model N. 5 (1897) detail of the floating fingerboard, like the one described in the catalogue
Mandolin Soloist model N. 5-bis (1927)
Mandolin Soloist model N. 5-bis (1956)
A mandolin Soloist model N. 5-bis (1956) compared with a mandoliola Soloist model N. 5-bis (1977)
Mandolin Soloist model N. 5-bis (1927) detail of the head
Mandolin Soloist model N. 5-bis (1966) detail of the scratch-plate
Mandoloncello Soloist model N. 5-bis (1908)

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.

Mandolin Soloist model N.6 (1972)

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.


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