Which mandolin for Calace?

[Jordan Ramsey]

Hey All,

I've recently become obsessed with the Calace preludes, specifically the recording and book that Detlef Tewes put out on Edition 49. I realize that if I truly want to work on these I'll need the right tool for the job, but I'm an F5 hound and know absolutely nothing about bowlbacks. Can you all point me in the right direction in terms of what kind of mandolin would be best suited for this material and where on earth to find one? I would guess the obvious answer is a Calace, but I don't think Detlef is playing one and I really love his sound. Does anyone know what kind of mandolin he's playing in the video linked above? Also, I read an old thread* where Ali Stephens says she preferred the size and sound of her Embergher over Calaces. Not sure which direction to go and know absolutely nothing about the different styles in relation to size, sound, comfort, etc. Also, I'm not really finding any Emberghers or Calaces for sale online. Am I looking in the wrong places or are they rare? Thanks for any information.

*While searching the forum tonight I came across this old thread and a beautifully poignant quote from Ali about her mandolin, "Baby". Made me tear up a bit, RIP Ali.

"Jim, of course, is spot on about my "beloved baby"...... we're joined at the hip I'm afraid..... I've had him for nearly 20 years now and he sounds better than ever....roll on another 20....and another 20.....hopefully I'll still be hacking out Calace on him then.....might leave a few notes out by then though......!! Then, hopefully, someone else will enjoy a faithful 60 years with him after me....Glad the sound samples are going down well......
All the best
ALI"

[Tavy]

Looks like a modern German made instrument? I suspect that pick and string choice will have a big effect on the tone he achieves as well...

[DavidKOS]

You could play the music on your F5 as long as the fingerboard extension is still there and is still fretted. Use a pick more like what a classical player would use rather than a big thick round pick, and you're good to go.

Those F5's were invented to play classical mandolin music. Personally I prefer a bowlback, but you can use any mandolin with a full-length fingerboard.

[vic-victor]

F5 is a right tool for classics, as shown by Chris Thile. But if juggling between Embergher and Calace, E. is superior. There is a stunning fully restored Embergher Orchestra Model 3 for sale by Lutherie Decorte in Belgium (if not sold already), but I am afraid it is a fairly expensive buy.

[Martin Jonas]

According to his homepage, Detlef Tewes plays a mandolin made by Manfred Bräuer. There doesn't seem to be a web page for that maker, and the instrument's looks and tone seem to be a little bit different from most modern German bowlbacks.

For what it's worth, there is a (very) young German luthier called Christoph Weis, whose homepage says that his mandolin design is modelled after Bräuer's. No idea how good he is -- his mandolin photos look lovely, but it looks like his No. 8 instrument is dated Nov. 2014, with at least some of them being guitars, so there are very few examples out there. On the other hand, a young luthier only just establishing himself may be more affordable and have a less full order book than some of the big hitters in German mandolin making.

Generally, the choice of instrument for Calace's composition is mainly personal. The composer (obviously) wrote for his own mandolins, but as you have found, Ali Stephens used her Embergher. She recorded a lovely album of Calace's mandolin & piano music for Naxos using her Embergher 5bis. That album sounds very different from Tewes, so you can take your pick as to what type of tone you would prefer. Other good examples of Embergher tone on the Calace preludes are the Youtube videos by Ralf Leenen and by Sebastiaan de Grebber.

Martin

[Jordan Ramsey]

Thank you for the replies, everyone! @David, yeah, love my F5, and have played a lot of classical on it, but it's a Sam Bush with the factory florida-ectomy and 21 frets... lacks the range to deal with most of the preludes. @Martin, thanks for your input, I'm still getting my bearings in terms of Italian vs. German sound. As far as possible vintage mandolins for sale or newer commissions... I'll probably have to err on the side of fiscal caution with this purchase, as this instrument will mostly live in my practice room. Based on availability and price, I've been looking at newer Eastmans or possibly older Japanese models, etc. (which would both be Italian style, correct?). Regardless of style, I'd like a big sound with moderately easy setup, fretboard extension, and solid intonation all the way up the neck. Any recommendations for other options that might fit these criteria without breaking the bank would be much appreciated. Thank you all for any leads or other information!

[vic-victor]

The easiest one in your part of the world will be a good quality USA made bowlback. There are decent instruments around and they certainly do not break the bank while doing the job just fine.

[margora]

"I've recently become obsessed with the Calace preludes, specifically the recording and book that Detlef Tewes put out on Edition 49. I realize that if I truly want to work on these I'll need the right tool for the job, but I'm an F5 hound and know absolutely nothing about bowlbacks. Can you all point me in the right direction in terms of what kind of mandolin would be best suited for this material and where on earth to find one?"

Dear Mr. Ramsey,

Very glad to see your post! Several comments:

--The Tewes recording is excellent (I have a review forthcoming in the CMSA Mandolin Journal). As pointed out above, it is recorded on a modern German mandolin with a standard Wolle pick. Other integral recordings are Gertrud Troester (OOP, but available from time to time on Ebay and other sources and Julien Martineau (readily available). In its day the Troester was a revelation and it is still serves very well as a reference recording. She recorded it on an early 20th century Calace. I like the Martineau recording a lot (I reviewed it very favorably) and it is recorded on a modern Calace.

--I have a three part article in the CMSA Journal that discusses the history of the Calace preludes, the skill set necessary to play the pieces, and a detailed walk-through of Prelude #2 (which I play and have performed in public several times on a Collings MT2, as well as a German Seiffert flatback). PM me if you would like a copy.

--regarding which instrument to use, Calace wrote these pieces with the sounds of his own mandolins in mind and performed them (at least it is believed that he did the mandolin preludes, it is known for certain that he performed the preludes written for liuto cantabile on one of his own instruments) as such. I know of no evidence that Emberghers were used to play this music in the early 20th century (e.g. no evidence that Silvio Ranieri ever performed them); ca. 1950s-60s, Hugo D'Alton and Guiseppe Anneda did. I personally prefer this music on an authentic Calace (some an analogous Japanese instrument, such as an Ochiai) or a modern German instrument over an Embergher.

As far as carved back mandolins go, the Calace preludes likely made their way to the US around the time of their composition via Pettine. His student Albert Bellson (the brother of the famous drummer) gave a performance of Prelude #1 in Salt Lake City in 1921 (the earliest public performance of any of the Preludes in the US that I can personally document) and again in Minneapolis in the late 1920s; he played #2 in 1933 at the annual convention of the American Guild of Banjoists, Mandolinists, and Guitarists (the predecessor of FIGA). All of the Bellson performances were on Gibson instruments, the first two definitely on an F-4; the 1933 might have been on his Lloyd Loar. The Bellson performances demonstrate that American carved back instruments were used in this repertoire shortly after it was composed (Calace wrote the pieces from ca. 1908-1920s) and thus are not anachronistic in any sense. More recently, there are modern performances of #2 on carved back instruments by Paul Hooper (the great Australian player), Mike Schroeder (whom perhaps you know/heard of) and Mike Marshall (whom I am certain you have heard of).

--someone seriously working on these pieces should accumulate the various editions as well as manuscripts, as there are small discrepancies. All of Calace's music is freely available on the web, including his own published versions of the Preludes (and the mss for the Gran Preludio). I personally like the Beer-Demander/Gallucci edition published by Les Productions d'Oz. Marga Wilden-Husgen has also issued edited versions of some of the preludes.

--Calace wrote his method with the idea that the Preludes (and other concert works of his) were the goal, and several of the exercises are intended to develop the necessary skill set. This, as well as other practice material, is discussed in Part 2 of my Calace article.

--as noted above and reiterated by other commentators here, there is nothing anachronistic about performing this music on an F-5, so I wouldn't give it a second thought (and haven't, since I have performed this music on a Collings. Other commentators above mention the need for many frets, but this is a very minor issue that, again, I wouldn't worry about). But if you wanted to go the bowlback route, say a Calace, one can certainly order directly from the source (www.calace.it). Not that long ago Victor Kioulaphides ordered a low end Calace directly from Calace; having heard it in person several times it is a perfectly satisfactory instrument (after, I believe, he got it set up in the US). Carlo Mazzaccara usually has several early 20th century Calace instruments that he has restored for sale; he can be contacted through his website or on Ebay. There are other sources in Italy. If you send an email (info@trekel.de) to Trekel asking for assistance about a German-style instrument, I am sure that Maren Trekel would be happy to help you.

Good luck with these. They are central to the repertoire for solo classical mandolin.

[Jim Garber]

Jordan: I think you will need to educate yourself on the differences among the various styles of bowlbacks.

First of all, you are playing a Sam Bush F5 which AFAIK has a wider neck. The Roman/Embergher style has a very narrow neck with a radiused fretboard in comparison with the Neapolitan Calace/Vinaccia style which still would have a narrower neck than your SB. The German mandolins I believe have a wider neck than the Italian bowlbacks but aside from the very different design are generally voiced for Thomastik strings. The tone is meant to be mellow to blend with a classical guitar. Very different from the Italian sound which has emphasis more on treble and mid-range.

Take a listen to Sebastiaan de Grebber playing Calace on a Cerrone-made 5bis Embergher (one of the best of its kind):


As Bob says above it is a matter of preference of what sound you want. If you like the German tone then go for that. IMHO it will work on whatever sounds good to you. BTW another choice might be a 20s Lyon & Healy with Thomastiks.

Not Calace but nice tone from Marissa Carroll's style B:

[margora]

"Based on availability and price, I've been looking at newer Eastmans or possibly older Japanese models, etc. (which would both be Italian style, correct?)."

The Eastman is a perfectly fine instrument for the money. There are two available currently (or were a few days ago) at Bernunzio in Rochester NY. By "possibly older Japanese models" I am guessing you are referring to Suzuki or equivalent. These are often available refurbished on Ebay from various Asian sources. It is a gamble buying one of these sight unseen from the US but, putting this aside (because the prices are still pretty low) one of the higher end Suzuki's (M30-M50) should be fine (I used to own an M-30. It was a good instrument for the money). It will still likely need a setup in the US. Dave Hynds (in France) restores old bowlbacks for modest prices and is very reliable; in the last month or so he had an early 20th century low end Calace for 500 pounds, very attractive instrument, good sound.

[Jim Garber]

My caveat is to make sure that you will like the tone of the Eastmans or other bowlbacks. I played one years ago and did like it, but I had been playing bowlbacks for many years. It is a big jump in tone from your F5 to Italian style bowlback. Make sure if you can that you can sit and play one for a decent amount of time. Very different even holding and many people I know, even classical players, give up after awhile mainly because of a different way to keep it stable on your lap.

Also, if you are enamored of Mr. Tewes playing and his tone, then an Italian style bowlback (like Eastman) might not be what you want. I would still take a look at Lyon& Healy mandolins. They are out there and if you get one in good shape it would not be as radical a transition as it would be to go to a bowlback. Just my 2 cents.

Also, check some of the other threads on classical playing. IMHO there is not one mandolin that would be considered a "classical" mandolin even back in the early part of the 20th century. Some played bowlbacks and some didn't.

That is not to say that I don't like bowlbacks. Look in my closet sometime. I have piles of them. But they are very different from an F5.

[DavidKOS]

Thank you for the replies, everyone! @David, yeah, love my F5, and have played a lot of classical on it, but it's a Sam Bush with the factory florida-ectomy and 21 frets... lacks the range to deal with most of the preludes.

Now that sounds like a good excuse to buy a new mandolin!

[Jordan Ramsey]

Wow, thank you all so much, really great information! I'm going to continue to research thoroughly before I drop any cash. I am in no hurry, happy to take my time and find the right instrument. I'll keep you updated as I go along, thanks again.

[tkdboyd]

Wow, thank you all so much, really great information! I'm going to continue to research thoroughly before I drop any cash. I am in no hurry, happy to take my time and find the right instrument. I'll keep you updated as I go along, thanks again.

Mr. Ramsey you are already a monster musician, I am very much looking forward to hearing you dig deep into Calace. Your YouTube video of Notturno-Cielo Stellato if fantastic.

I have 3 inexpensive entry level bowl backs and 1 that I would consider a mid-level, I would think a player of your ability would need to jump into the deeper end or you'll be disappointed.

[Beanzy]

In case it helps when looking I think the main differences I notice in having a Calace are;
Scale length, I am much less constrained in when and whether I shift on the shorter scale instrument than on the carved top a etc.
Volume, the Calace is loud, really loud whenI need it to be and the whole mandolin top & bowl are vibrating except with the quietest playing. My other bowlback instruments are not nearly as lively.
The bass end response is very good, sometimes too dominant unless I rein it in, so there are aspects of playing and control that come with that liveliness which may not bea factor with other instruments ( Embergher models and copies I've played weren't the same in this respect)

[margora]

I have been FB messaging with Tom Edskes (one of the excellent guitarists with HET Consort) over the past 24 hours about early 20th century performances of the Calace preludes. Tom found a reference in one of the Dutch mandolin journals of the era of a radio performance of Prelude #10 by Franz de Groodt in the late 1920s, for whom Calace wrote the piece ca. 1920. De Groodt played an Embergher mandolin, so AFAIK this is the earliest performance of a Calace prelude on an Embergher mandolin that has been reliably documented.

[Jordan Ramsey]

Doing my best to resist selling the car, what timing!

http://www.mandolincafe.com/ads/93547#93547

[Jordan Ramsey]

A '97 Ford Taurus, btw, not sure selling it would even cover the shipping. Got an email in to Natalia for price and pics, we'll see.

[Bob A]

Shipping should be around 1-200 dollars, with insurance. There should be no import duties/customs fees, as the mandolin is over 100 years old, and thus an antique, per the regs. It should be so noted on the customs forms by the seller. It's not a particularly fancy instrument, from what little I can see of it, so the price should be commensurate. I'm not current on Calace prices, but the whole deal should end up in the low four figures, I'd imagine.

If I were in your place, I'd probably go for it. That's why I have so many mandolins, and so little in the way of dollars and sense. Life is short. Consider it tuition, and bear in mind that the Euro is down, and you will likely get your money back if you decide to part with it eventually.

[Jordan Ramsey]

Thanks, Bob. Natalia's asking $2800, so I'm guessing that would put it at around $3000 to my door. Not sure I can go that deep for this one, but I'm still scheming and dreaming.

[Manfred Hacker]

Maybe you should also check out the guy's webpage who did the restoration work (if you haven't already done so):
http://www.woll-mandolinen.de/E_vers...tartseite.html

Mr. Ramsey, I put all the blame on you if I start lusting after one of these now ...

[Alex Timmerman]

Hello Mr. Ramsey,

Here is a video with the II PRELUDIO (Op.49) by RAFFAELE CALACE (1863-1934) performed by Ferdinand Binnendijk in the church of Ripalimosani (Campobasso), Italy. With this performance, and two others, he won 1st prize during the 8th 'RAFFAELE CALACE' Contest for mandolin solo in 2011.
Ferdinand played a 1930 Raffaele Sr. Calace mandolin with, if I remember well, a tortoise shell plectrum of the Neapolitan 'egg-shape' design.


By the way, the Belgian mandolinist Franz de Groodt not only played Roman concert mandolins by Luigi Embergher and Domenico Cerrone; he also is known for using the concert mandolins made by the French luthier Lucien Gelas... .


Anyway, good luck with your search for a fine Raff. Calace concert mandolin!

Best greetings,

Alex.

[Alex Timmerman]

Hi again,

Here is a photo showing Mrs. Annamaria Calace, me, Maestro Raffaele Calace Jr. and the President of the Italian Mandolin Federation Artemisio Gavioli conscientiously discussing the 'ins and outs' of the very same Raffaele Calace mandolin Ferdinand used during his performances at the Raffaele Calace contest.


Best greetings,

Alex.

[Jordan Ramsey]

Hello Mr. Timmerman,

Thanks for your posts, what an amazing performance by Mr. Binnendijk! The Gibson mandolin I play was a contest prize at the RockyGrass festival here in Colorado, I won in '08. I've also placed in the top five at the National Mandolin Championship in Winfield, KS a number of times. I have the utmost respect for competition players, especially those playing Calace! Would love to attend the Calace competition one of these years.

In the meantime, I've concluded that the larger scale of my Sam Bush (1 & 3/16 nut, wider fretboard, string spacing, course spacing, etc.) combined with my "bluegrass" string gauge and action is making it very difficult to even practice the Preludes (currently working on II, XI, and XV). I do not have a budget for a serious concert mandolin right now, but I need something with a smaller scale to practice on less I hurt myself (I'm a little sore after only two weeks of working on these with the Bush). Just found this on craigslist last night:

http://sfbay.craigslist.org/pen/msg/5375359331.html

Sound sample should come tonight, if the sound is OK I'm thinking about pulling the trigger. Guy says the intonation is really good all the way up, but the tone is a little tight / needs to be played. Any thoughts from the experts? Will this be a good interim instrument until I can get myself a worthy concert mandolin?

[Beanzy]

One of our trio plays an '87 version of that one and it sounds fine. Not as open and boomy on the G as the earlier ones from the '20s, but plenty of good sound to work with. Certainly if I were in your shoes I'd go for that approach. As for the sound you end up with, you can so radically alter the sound of these instruments that I wouldn't even worry about the sound clip. Get it in yer mitts and you'll be tweaking this and that for the next few years anyway.
The next part will be the great string journey

While making the transition to the bowlback it's a good idea to decide now what type of player you want to become. Will you be a lap, leg, strap or free holder.
Will you be a crouched, upright sitter or a strutter?
Then there's the pick picking process, whole other thread there.

It is a journey and you're already bringing a shed load of experience to this it should be a fascinating one for you, and interesting for the rest of us to see what you find on your road.

Fingers crossed for this initial step.