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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 Louis XVI pedalharp after Beat Wolf.

» www.dariopontiggia.com
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.

» www.tuggi.ch
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.

» www.mani-harfenbau.ch

Over 40 years I served my appreciated customers with the construction and the restoration of historic instruments. With my retirement I will retreat from harp making and restoring giving my knowledge in younger hands:

The Italian harp maker Dario Pontiggia from Milan will make the replica of the Louis XVI-pedalharp after my model. With the end of 2016 D. Pontiggia has already finished his first Louis XVI-harp - with highest quality as all of his works.

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 Swiss harp makers: Peter Demmerle in Schaffhausen and Christoph Mani in Guggisberg, Bern. I will stay them aside as a mentor.

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


SALES of my harp making DVD

I will give away the last samples of my documentary DVD about making the Louis XVI-harp for a cheap price of CHF/EUR 10.- incl. p&p.

> Info and order here.


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