As an instrument designer and an harpist, Krumpholtz helped to further develope the harp including an eighth pedal for the opening of resonant chambers and the addition of eight steel strings to a twenty four-stringed instrument. He also made adaptative suggestins for future improvements which were incorporated by Erard in the nineteenth century after Krumpholtz's death. As a young student of music, Krumpholtz was supposed to learn to play the horn exceptionally. This was due to the patronage of the counts Kinsky to whom his family was bonded. Krumpholtz concentrated on the harp, his mother's instrument of choice, much to the chagrin of the count. BY his late twenties, Krumpholtz was giving harp concerts and when Haydn heard him, instructed him in composition and gave him the position of harpist in the Esterhazy musical entourage. Composition by Krumpholtz included concertos, sonatas and variations for the hrp many of which are standard and respected. The strengths of these compositions include their modulations for the developing instrument (i.e., pedal additions), technical demands due to the evolution of the instrument, a new understanding of the instrument by composers, and bountiful fecundity for the repertory of the harp. ~ Keith Johnson, Rovi