The small single action harp with the slim body appears very elegant and filigree. From its design and construction the harp can be regarded as the work of a gifted instrument maker. The harp is signed and dated only by the manufacturer of the mechanism "GO' do' 1728".
Height 1395 mm; 34 strings G1 to e3; 7 pedals, single-action; 30 turning crutches.

ORIGIN AND ATTRIBUTION

I bought this harp from a private person in 1992. Only in 1997 I was able to make a comparison with the harp SAM 565 of the Kunsthistorisches Museum Vienna, with the kind support of Dr. D. Droysen-Reber. That harp is labeled "Hochbrucker, Donauwörth 1720".

JACOB HOCHBRUCKER

The German Jacob Hochbrucker (1673-1763) of Donauwörth has constructed the new invention of the pedal harp in 1699 as one of the first makers. He has started making a five-pedal harp first (after Fétis Biographie universelle...1839), but in 1720 his harp with seven pedals was already well known. Two musicians of the Hochbrucker family have succeeded as composers for harp: Jacob's son, Johann Baptist (> Six Sonates pour la harpe, dedicated to De Rohan, 1762) and the nephew of Jacob, Pater Coelestin (> Six Sonates pour la harpe, dedicated to De la Guiche, c. 1771).

However the invention of the pedal harp was claimed by several makers: J.P. Vetter of Nuremberg; Johann Hausen of Weimar; Goepffert (Gaeffre) and the Italian Petrini.

STATE BEFORE RESTORATION
The harp is in very good shape, the body well straight, the soundboard is flat. The mechanism responds easily to pedal action. In the bass there are five thick plain gut strings of modern gauge! The center strip (bridge rail) is ripped off the sound board. Inside the sound box we can clearly observe that somebody has tried to change the bracing.

THE MAIN RESTORATION TASKS
The sound board: To restore the original design correctly and without compromises, I have decided to take the sound board off the body shell. After the inner bracing has been completed in the original manner, I prepared the gluing process for the soundboard.
The pedals end as short stumps, which are acted by the shoe tips. To keep the pedals engaged, each pedal has a brass tongue with a spring, screwed at the body shell. If the shoe tip presses the tongue against the body, the pedal can release.
The stringing: I have reconstructed a stringing which comes probable close to original. It has about 1100 N total tension at 415 Hz, tuning in E-flat major (or B-flat major). The lowest four gut strings are silver wound. It seems generally possible that a meantone temperament was intended, so I used the intonation of 6th comma. The very light stringing shall be tuned only for temporarily playing; otherwise, the harp shall stay with the string tension released.
The sound: Despite its minimum string tension the harp sounds surprisingly energetic and has a quick response. Generally the sound is very direct, bright and almost silvery. The bass is warm and well marking. 

Actual placing: The harp was bought in 2009 by the Musée de la Musique Paris (E.2009.1.1). It is there on display and can be heard with the "audioguide".

» RESTORATION REPORT pdf
» SOUND SAMPLE: Nanja Breedijk playing from: "Musicalische Rüstkammer auff der Harffe"  mp3