"La mélodie est l'essence même de la musique" - Wolfgang Amadeus Mozart.

Pour la majorité des instrumentistes, les expériences de musique de chambre ou d’orchestre ne sont que des événements ponctuels, pendant que l’étude solitaire constitue l’essentiel de leur activité musicale.
Cette pratique quotidienne ne saurait se résumer à une préparation technique répétitive reposant uniquement sur l’étude de gammes et d’arpèges sous peine de devenir mécanique, asséchante et démotivante. Les qualités instrumentales mais aussi intellectuelles et artistiques du musicien doivent pouvoir s’exercer et s’épanouir sur un contenu musical de qualité, issu d’un répertoire stylistiquement aussi varié que possible, tout à la fois exigeant et inspirant.
En cela, il apparait comme non seulement légitime mais recommandable à tous les instrumentistes – y compris à ceux jouant d’un instrument monodique - d'interpréter les chefs-d’œuvre de la musique pour les découvrir et en avoir une connaissance approfondie.
Cette appropriation passe nécessairement par l’arrangement, avec ses failles et ses faiblesses, mais qui seul permet l’élargissement de répertoires limités. Si l’adaptation de certaines œuvres se fait très facilement, par une simple ré-instrumentation, il n’en va pas de même de beaucoup d’autres qui nécessitent plus d’habileté et d’audace. C'est, par exemple, un pari fou de vouloir capter l'essence d'un morceau polyphonique réduit, « arrangé » en une simple ligne mélodique. Mais le jeu en vaut la chandelle car le gain ne s'en mesure pas seulement à un indéniable enrichissement instrumental et culturel mais aussi et surtout au plaisir musical éprouvé par l'interprète.

Frédéric Cellier, arrangeur

Vivaldi, one of the most admired violin virtuosos of his time, is today recognized as one of the most important composers of soloist concertos and operas of the Baroque period.

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