David Paget, master of the luthier: this is how a “ prêt à Porter” violin is made

A new violin comes out of hand David Paget, which is always news. In his workshop in Barcelona’s Gràcia district, bathed in spring light reflecting from the garden, the peninsula’s most cosmopolitan lottiere gives the instrument its final touches. Mounting, varnishing. Bridge in height, right angle. In general, control the details. The smell of the place escapes even from the street, a distinct smell mixed with wood and different materials. And one more thing: what is intangible has to do with time and hours spent at work; It is about accumulation. Towards the end of the morning, look at the result, proudly. New violin from Baget. Or so it seems at first. It is actually more than that.

he Ready to wear A contemporary Luthiery has just seen the light of day in Barcelona, ​​more specifically in Gràcia, and more specifically in this 18th-century style space on Carrer de la Virtut. The same process carried out in the world of haute couture In the 1950s, in pursuit of the ideal of democracy, this was carried out by one of the most famous miniaturists in Europe: he made his art an accessible commodity. This violin that looks and weighs before thinking it is complete is part of that purpose. Young and emerging musicians, the main target From the project, they welcomed the idea and Pajoy’s violins, accustomed to roaming around the big stages, began to appear in the hands of novices who had been trained in conservatories in Europe. small revolution in the world of ceramics.

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The project is called Alta Cultura Social -says Baguy, Croix de Saint-Geordi 2003 In recognition of his artistic work – a crystallization of the idea that my work should be able to offer potential talents in the world of music a quality tool for their development. something like that Ready to wear physiology & rdquor ;. “I have worked all my life building instruments for great musicians, devoted to that elite business which, whether I like it or not, is the building of violins – he continues-. But I do not forget that I am the son and grandson of workers, people by trade, and that I grew up in this artisan neighborhood, Of the people who make their living with their own hands. All of this, no matter what paths my art took, awakened a reflection on the social dimension of my work. In the end, my social sensitivity is closer to my class than to the world I knew thanks to my trade. Baghi, a proud figure from another time, has not escaped a circumstance of his own: epidemic reflection, Which made many minor or drastic changes to the track.

Making tools that travel the world affordable On the shoulders of giants like Leonidas Kavakos – for example – it goes through two basic issues: on the one hand, the wood used in its construction. On the other hand, finishes. “I have some unusual materials, woods that are 15, 20, 30, 50, 100, 150+ years old,” says Bagoy. “This overlapping raw material is what allows me to Show tools on demand, so to speak. On the other hand, the experience I have gives me the possibility of making violins with lighter finishes. Historically, they are instruments related to the Testuri violins, those made by Carlo Testor and his family, who worked for musicians more than for aristocrats or royal houses, as is the case with Stradivarius or Guarneri & rdquor ;. Briefly, Bagué collects a tradition, which was already practiced in Italy in the eighteenth century, He updates it and creates another version of himself. “It gives me the freedom to act unexpectedly, but not in the unknown. Working like this I have an infinite radius of action. I’m in another moment of epiphany.”

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High quality

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Does this mean that Paget Ready to wear Is it less of a quality than what someone like Cavacos has? “No,” said luthier Barcelona emphatically. “I have to give the high quality I’ve always wanted. I don’t run away from my voice. In one case as in another, matter is put out for creativity and acoustics & rdquo;. The experience returned to the artist the sensations that first gave him a lollipop, when he was a child playing in construction machinery with bottles and broomsticks, as he had seen on a television programme. “It gives me strength and ease in my work That makes me lucky in the workshop. I am again the child who plays and has fun & rdquo;. In this way, his usual violins, which still occupy most of his time, benefit. On the one hand and on the other hand, at the age of sixty, Bajoy He settled into a sweet moment of his art.

In the end, it is still a form of nepotism. To bring high quality machines to the public for which it would not be reasonable to obtain it It’s very interesting & rdquo; says Luthier. “People who have been able to provide their children with the opportunity to study at the conservatory are people who have a socio-economic position, let’s say, more comfortable than others & rdquor; the lack of patronage law in Spain is severely criticized, Bagi hopes his project will inspire others through infection. And there, in the middle of his workshop, surrounded by the wood and carcasses that will someday be a violin, in this pocket molded in his own image and likeness, Bagoy sums it all up with the following comment, North of his life in Artist: “In art and culture you always have to take risks.”

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