Genzini: How did you approach violin making?

 

Draghi Poggi: I became passionate about violin making from a very young age, at four years old, thanks to a luthier from Florence, Paolo Sorgentone, a friend of our family. My sister used to play with her daughter and I used to stay with him watching him work, which fascinated me very much. Although at the time it was all a game for me, I soon understood that this had to be my "way". Even in middle school I didn't change my mind, I remember a booklet made in the last year that contained photos of all the pupils accompanied by an image that represented our biggest dream, in my case Stradivari appeared next to me. It was only in high school that I had a few moments of uncertainty due to my passion for mathematics and science, subjects in which I had a certain ease. I graduated in June 2017 and until September of that year, after deciding to make my dream come true, I was followed by my friend luthier Paolo Sorgentone, thanks to his helpfulness, I was able to learn the first useful techniques to be able to carry out the admission exam to the International Violin Making School of Cremona. I enrolled, passed the exam and was admitted to the third class where I obtained my diploma three years later in 2020. Subsequently, as soon as I graduated, I have had the opportunity to find a job in the workshop of Maestro Luiz Amorim in Cremona as an employee, this aspect made me given the opportunity to grow from the luthier's point of view and to be able to participate in competitions as a professional.

 

Draghi Poggi: I enrolled in the Pisogne competition organized by the National Association of Italian Artistic Violin Making on the last day available and it went well, to my great surprise the violin I presented was very appreciated and I won the third prize, it was a great joy. For me, competitions have a particular very positive aspect, anonymity. This aspect guarantees people who are discriminated in the violin making field, for machismo or racism, to be judged fairly.

 

Draghi Poggi: I am inspired by the classical Cremonese violin making and in particular by the instruments of Antonio Stradivari, I do not make copies or antiqued instruments but I interpret the models I love most. For some time I have established a good relationship with the Masters Davide Sora and Luca Salvadori with whom I often interact. I use the internal mould and carry out the processing of the fluting channel before purfling. This technique allows great precision and cleaning as well as considerable control, in fact it is possible to clean well the entire fluting channel and then you can round the edges according to your personal taste.

 

 

Draghi Poggi: I use oil varnish which I don't buy ready but which I cook, I don't have a master of reference in this field but through the continuous exchange of information between young luthiers I managed to get a good result. Varnishing is always the sum of various phases. I start with a classic protein sealer for the table, then I deal with darkening, with different procedures and preparations, the back, the head and the ribs trying to enhance the depth and characteristics of the maple flame as much as possible. The goal over time is to get to build instruments that can fully represent me both from the luthier's point of view and as regards the sound, the latter aspect which is decidedly fascinating and complex.