For Bagnati, sound is inextricably linked to places. Music does not need a great concert hall to be meaningful. The rooms you rehearse in, the cities you live in and the spaces you move through every day leave a subtle yet decisive imprint on timbre and on musical identity. Sound thus becomes something you experience, not something you simply produce.

The bond between musician and instrument closely recalls the world of Italian craftsmanship. As with a handmade object, the double bass responds to touch, material and time. The wood, the strings and the resonance require care and respect. “Attention to the smallest details is what leads to great results”, observes Bagnati, summarising a vision in which the process matters as much as the end result.

It is the same philosophy that animates the world of Doucal’s, where craftsmanship is founded on attention, knowledge of materials and the tradition of skilled hands. Just as a handcrafted shoe takes shape slowly, through precise, measured stages, sound too arises from a combination of visible and invisible actions that require discipline and patience.

Bagnati’s musical language is rooted in a profoundly Italian identity. “The Italian way of playing is distinctive because it is intimately linked to our culture and our language”, he explains. Central to this vision is the value of collaboration. Across different musical styles and generational and cultural differences, dialogue becomes the true creative engine. In this sense, the orchestra becomes an ideal model of society: different voices that remain faithful to their own identity while learning to listen to one another.

In an era marked by digital abundance and artificial intelligence, the material dimension of musical practice – wood, strings, resonance, silence – takes on a precise cultural meaning. Slowness is not only an aesthetic choice but a stance that reaffirms the value of time and the importance of caring for even the smallest detail.