The Book of Genesis cycle was composed for a very special occasion, a concert given in the crypt of the Abbaye Saint Victor in Marseille as part of the Les Voix des Suds festival.
Given the high spirituality of the place, I chose to illustrate musically five short extracts taken from the first chapters of Genesis, the first book of the Bible. A fundamental story of origins for Judaism and Christianity, it derives from even more ancient mythologies from Egypt, the Near East and Asia Minor.

Given its subject matter, In the Beggining, the first piece in the cycle, was bound to be much simpler, almost austere. In ABA form, it is based on the text:
’ The earth was formless and empy, darkness was over the abyss and the breath of God was hovered the waters. ‘Genesis 1:02

Then the Eyes is the most lyrical and expressive piece in the cycle. In AABACA form, it is based on the text:
’ Then the eyes of both of them were opened and they realised they were naked. So they sewed fig leaves together and made coverings for themselves. ‘Genesis 3:07

Let the Birds Fly is built as an ABCBA arch and is based on the text: ‘Let the waters abound with living creatures, and let birds fly above the earth under the firmament of heaven. ‘Genesis 1:20

The Breath of Life is the most rhapsodic piece and doesn't really obey any form. It is the most exalted and mystical piece and is based on the text:
‘Then the Lord God formed the man of dust from the ground and breathed into his nostrils the breath of life, and the man became a living creature.’ Genesis 2:07

The Most Cunning, which closes the cycle, is the most oriental piece. After an introduction, it adopts the system of repeating 3 themes so common in klezmer music ABCABCA'B'C'C‘’ and is based on the text:
‘Now the snake was the most cunning animal that the Lord God had made.’ Genesis 3:01

I wanted to give equal treatment to the two instruments that make up this duet. My writing challenge was to turn the accompaniment into a solo and the solo into an accompaniment, thus creating a melody of timbre with the aim of bringing more colour to the piece and more playfulness to the performers.
Freely inspired by the klezmer style, all the melodies are nonetheless original.
The Book of Genesis was premiered by my son Esteban and myself on 27 October 2024.

Frédéric Cellier

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