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Davidson also enjoys a following on Patreon, a website that aggregates financial support for the arts--all for seventeenth century cello music played with gut, not steel, strings."People are really getting into it," she says of her performances of Italian cello music almost 500 years old.That's not the kind of sound they were hearing in the 1600s, when they were playing with gut strings." In addition, Davidson's DIY approach to performing and building an audience allows her to play the music the way she believes it ought to be played.

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"Social media gives you the most direct approach to your fans. You don't have to have an agent or anyone looking over your shoulder and controlling your image.

"You don't have to get your teacher's approval, and a conductor doesn't have to say I can do something. "What I want to do in my heart is driving me every day.

That's something most musicians won't do." Davidson started an early music string quartet, the Emergence Quartet, and that group essentially follows the traditional path. But in her solo work, Davidson takes the road less traveled for classical musicians--she posts videos of herself playing solo baroque cello. "Most classical musicians are afraid to post videos of themselves playing," she says.

"They've been told one wrong note can ruin their entire careers.

The cello goes back to the early baroque period, and you can really feel the same emotions they felt back then when you play." Part of Davidson's approach to early music is to recreate the sound as it existed at the time.

"Today, we usually play with loud metal strings, so that we can be heard in the back of enormous concert halls.

(The Galpin Society Journal)The revival is part of the historical performance movement, which can be traced back to the early 19th century and has played a major part in Western musical life in the past four decades.

Laird...interviewed 46 cellists to discover what drew them to the Baroque instrument, how they play it, how they translate their understandings of Baroque performance into practical music making, whether they have explored other historical periods, and other topics.

Starting with a contemporary recasting of a prelude (“Night opening its black flower”), the following movements gradually approach a ghost of the baroque.

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