Michel Blavet (1700–1768) is one of the most refined figures in 18th-century French music. A virtuoso flutist, delicate composer, and court musician, he embodies the elegance and sensitivity of French aesthetics during the Age of Enlightenment.

Born on March 13, 1700, in Besançon to a modest family, Blavet did not follow the traditional academic path of musicians of his time. Largely self-taught, he first learned the bassoon, then devoted himself to the transverse flute, an instrument that was still relatively new in France. His exceptional talent quickly set him apart: his playing was renowned for its purity of sound, expressiveness, and naturalness, qualities that would make him famous.

Arriving in Paris in the 1720s, Michel Blavet quickly established himself as the greatest French flutist of his time. He performed at the Concert Spirituel, a prestigious venue in Parisian musical life, where he enjoyed lasting success. In 1738, he was appointed musician to the chamber of King Louis XV, the supreme recognition that crowned his career.

As a composer, Blavet writes mainly for his favorite instrument. His flute sonatas, often published with basso continuo, combine formal clarity, melodic charm, and expressive finesse. Influenced by the Italian style without ever renouncing French elegance, he achieves a subtle balance between virtuosity and inner song. His music seeks neither spectacular brilliance nor demonstration: it seduces with its grace, flexibility, and humanity.

Unlike many flamboyant artists, Blavet led a relatively stable and respected life. He remained loyal to Paris, where he taught, composed, and performed until the end of his life. He died on October 28, 1768, leaving behind the image of an accomplished musician, discreet but deeply influential.

Along his university studies (DEA in musicology, University of Paris IV-Sorbonne), Frédéric Cellier was awarded three first prizes and a development prize at the CNR of Nice and won first prize at the International Competition of Musical Execution - soloist category – of Stresa (Italy).

He is the laureate of the Fondation de France and the Yehudi Menuhin Foundation and accredited teacher at the CNR of Nice, the CNR of Marseille, and at the CRR Olivier Messiaen of Avignon (France).

Frédéric Cellier is the interpreter of Francis Poulenc’s Sonata for clarinet Bb and piano with Jean-Michel Damase, Jean Françaix or Gabriel Tacchino, as well as his own arrangements for clarinet and harp of Erik Satie's Gymnopédies and Gnossiennes with the great French harpist Elizabeth Fontan-Binoche, and for clarinet, piano, and string orchestra of George Gershwin's Rhapsody in blue for Wynton Marsalis or under the baton of Adrian Gershwin, grandson of the composer.

Founder and artistic director of STRADIVARIUS Editions, he is the author of light music pieces played around the world and a considerable number of arrangements of all styles and for all instruments, acclaimed by many personalities in the music world, including Michèle Auric, Jean Françaix, Adrian Gershwin, Wynton Marsalis, Yehudi Menuhin, Madeleine Milhaud, Manuel Rosenthal, Gabriel Tacchino, and Ornella Volta.

"Frédéric Cellier has produced a number of adaptations of Georges Auric's works with such talent and precision that I consider them a natural addition to his chamber music catalogue."
Michèle AURIC - Georges Auric's widow

"To Frédéric Cellier, excellent musician and tireless arranger."
Jean FRANÇAIX - Composer and pianist

"Arranging a musical work is always a delicate and risky exercise, because it requires both modifying it so that it can be played by the desired instruments and preserving its very essence. But that is exactly what Frédéric Cellier has done, preserving the nuances, subtleties and soul of the original works while breathing new life into them.
His arrangements give all the musicians the chance to perform these compositions specially revisited for their instrument, and make music lovers rediscover them in a new light."
Adrian GERSHWIN - George Gershwin’s grandson

"Congratulations for your beautiful new orchestration and rendition of Gershwin’s Rhapsody in blue."
Wynton MARSALIS - Trumpet player, composer, bandleader, general and artistic director of Jazz at Lincoln Center, New York

"It is outstanding that Frédéric Cellier has managed to transpose Saxophone Marmalade from the saxophone to the clarinet. I thank him for it and wish its great and deserved success. "
Manuel ROSENTHAL - Conductor, composer and Maurice Ravel’s pupil

"I am very happy to tell you how much I appreciated your transcription of the Capriccio, based on Francis Poulenc's Le Bal Masqué. It perfectly reflects the spirit and verve of the score for two pianos that I had the opportunity to play and record with Jacques Février, and it was a great pleasure for me to premiere it in Montpellier."
Gabriel TACCHINO - Pianist, Francis Poulenc’s specialist

"I must tell you that I really like your transcriptions and that I think the tone of the instruments you have chosen suits perfectly our beloved composer."
Ornella VOLTA - Musicologist, president of the Erik Satie’s Foundation