The Arrival of the Queen of Sheba, also known as The Entrance of the Queen of Sheba and The Entry of the Queen of Sheba, is one of two instrumental movements in Solomon, an oratorio by George Frideric Handel written in May and June 1748 and premiered on 17 March 1749. Scored for two oboes, strings and continuo, it is the sinfonia which opens Act III, the only act in which Sheba appears, and it depicts the bustling preparations for her arrival rather than that entry itself. Its modern title was apparently bestowed on it by Sir Thomas Beecham; certainly, Handel did not use that title,the surviving wordbook simply calling it "Sinfony". It is marked allegro,and features lively violin passages and contrasting solos from the two oboes.
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Handel's contemporary William Boyce said that he "takes other men's pebbles, and polishes them into diamonds"; "The Arrival of the Queen of Sheba" is considered a notable example of this accomplishment. It incorporates music taken from the allegro of a concerto in Telemann's Tafelmusik, and from a keyboard gigue by Georg Muffat. The main theme, however, came originally from the ritornello of an aria in Giovanni Porta's opera Numitore. Handel adapted this first for a trio for two clarinets and corno da caccia, then as a sinfonia probably intended for some other work now unknown, improving the rhythm of the piece each time. The completed sinfonia seems to have found its final place in Solomon at a late stage in that work's gestation.

Though Solomon as a whole is today rarely performed, The Arrival of the Queen of Sheba has been a very popular piece through the 20th and 21st centuries, being, for example, frequently played at wedding ceremonies. It was first recorded by Sir Thomas Beecham in 1933, and was often programmed by him as a concert piece. It made a very prominent appearance in the 2012, being played during the opening ceremony of the London Olympic Games, and another in 2023 as part of the coronation service of Charles III. Today it is one of Handel's best-known compositions.

A virtuoso harpsichordist and organist, Handel, born and trained in Saxony, spent a long time in Italy before settling permanently in England, where he wrote most of his works.
In fact, his style combines the structure and counterpoint of the Germans, the melodic seduction, dynamism and optimism of the Italians, and the majesty and pomp of the themes of the French Grand Siècle.

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, but also performs his own version 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 pieces of light music and a considerable number of arrangements in all styles and for all instruments acclaimed by numerous personalities in the music world:

"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