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Dario Pontiggia

After degree in Industrial Design at Politecnico of Milan, he specialized in guitars and ancient harps rebuilding. From 2006 he’s been studying and rebuilding the Barberini harp and also Medieval, Renaissance and Welsh triple harp. His harps are used by professionals in Europe, USA and Japan.

Now he works on the replica of the Louis XVI pedalharp after Beat Wolf.

Peter Demmerle

I have given up my studies of natural sciences to favour instrument making. I opened my own studio in Schaffhausen in 1998. There I built successfully harps after my own design, hurdy-gurdies and steel-stringed guitars. In the last few years I restored and revised original harps more often.

I am happy to follow the footsteps of Beat Wolf.

Christoph Mani

After an apprenticeship on machine-mechanics and several courses in wood-processing I finished the "Welsh School of Musical Instrument Making and Repair" as a qualified harp maker. Since 25 years: Building and repair of lever harps and concert grands in my own studio.

New: Restoring of original harps.

IMPORTANT NEWS

Since not less than 40 years I serve my appreciated customers with the construction and the restoration of historic instruments.

Now the time has come to hand over my knowledge to younger hands. I am very happy to have good contacts to skilled colleagues. For the different tasks I found persons that I can trust completely; they will carry on my work professionally and are also able to develop it further. Therefor kindly note the left column.

The Italian harpmaker Dario Pontiggia from Milan will make the replica of the Louis XVI-pedalharp after my model. He brings wide knowledge from his excellent baroque harps and he is largely equipped with modern technics. Working in the EURO-area he is on equal footing with the clientship from all around Europe, what might cause some benefit in price.

Replicas of my gothic harp and my small harp with levers will be made by Peter Demmerle in Schaffhausen, who has already experience from his own models.

The restoring of early pedal harps will be taken over by two skilled Swiss harp makers: Peter Demmerle in Schaffhausen and Christoph Mani in Guggisberg, Bern. With my wide knowledge in restoring I will stay them aside as a mentor.

I would like to thank most sincerely to all my previous customers for their confidence.

Kindly note the informations on the pages » products and » restoration

  

What is Beat Wolf doing?

With my retirement I will retreat from harp making and restoring.

I will still be available for museums and harp-collections. Therefor I will also have my harp archives ready. Kindly find details on the page » Restoration » Expert-Service.

For all other belongings you will kindly consider the above mentioned harp makers.

 

ERGONOMICS

The original harps (as well as their replicas) provide a clear and powerful sound even with their very light string tension. Thus allows a relaxed fingering and is balm for people who need or want to protect their finger joints. In addition the narrow string spacing facilitates the fingering and playing in octaves is easy for small hands without any overstretching.

Even people with fine finger structure or after having hand injuries play the historical harps effortlessly. Brisk and sparkling passages can be played very quickly without effort and thereby the articulation is precise and clear. This fact is amazing even for virtuoso players who are normally familiar with modern concert harps.

As a comparison: a concert harp keeps a total string tension of about 1'100 kp. On a historical single-action harp this is between 250 and 400 kp depending on age and type. The octave-spacing c° - c1 is about 112 mm on concert harps, but only 92 to 100 mm on historical harps.

» Copies of early harps – single action harp

 
Surprise bag

 

In this column you will find funny curiosities, stolen from the depths of the Internet - or elsewhere. Open this magical treasure and enjoy the surprise. I will update the content time by time.

I wish you much fun.