Emily Davidson has built a career around bringing early music into the present. Long before social media found a place in the classical music world, Davidson was using digital platforms to introduce new audiences to gut strings, period instruments, and repertoire that reaches back before Bach.
Artist Playbook caught up with the Baroque cellist to explore the expressive power of imperfection, the freedom of working without a blueprint, and what ancient music can teach a modern artist.
“Trust your instincts and inspiration over other people’s opinions”
You were pulled toward early music very early in your journey as a cellist. What was it about that world of music that captivated you?
I was fascinated by how something so ancient could capture the same emotions we feel today. Baroque music was the earliest music available to me as a cellist. I also loved the cohesive sound of a string orchestra, and there’s a vast repertoire of Baroque orchestral music scored predominantly for strings.
Playing on gut strings and a period instrument creates a very different relationship with the cello. What is it about the sound that makes it so distinctive?
The imperfections become expressive tools. Because period instruments use natural materials, the sound has natural imperfections, more grit and texture, which can be off-putting if you’re going for silky perfection. But when you begin to see those layers as additional expressive tools, your range of color truly expands.
Much of your work has explored cello music from before Bach that rarely gets heard. What speaks to you about this pre-standardized repertoire?
The lack of recordings gave me a clean slate for interpretation.
Unlike the Bach Cello Suites, which hundreds of cellists have recorded, no favorite albums were shaping my interpretation. I relied on historical performance practice and my own artistic sensibility, which created an intimate connection with the composers.
What has it been like building a community around ancient music using modern technology?
There was no blueprint. I didn’t have high expectations when I started sharing my Baroque performances on social media; I simply wanted to share music I loved. It was exhilarating to discover how much intrigue and appreciation existed for such obscure repertoire.
You’ve built a varied musical life across many roles and formats. What advice would you give a rising artist trying to build a career today?
It takes a long time for people to catch up with what will actually make an impact in the future. Much of the advice we get recycles outdated approaches, and a progressive path makes people uncomfortable. I was constantly told not to post my videos online. That advice faded as I built an appreciative audience by going against the grain.
