Conte Musical pour Orchestre
Texte : Anne Houdy
Musique : Nicolas Mazmanian

Rosalie est nĂ©e au cĹ“ur de l’hiver. La forĂŞt, les arbres, le vent, la neige sont des repères qui au-delĂ   de la symbolique qu’ils proposent, font entendre au jeune public un dialogue singulier avec l’environnement. Si la nature est forte et dense, c’est qu’elle est composĂ©e d’organismes bien vivants ! Chaque flocon est nommĂ©, le vent est cinglant, le froid sans pitiĂ© et l’arbre atteint dans sa chair. Le dĂ©fi fut de mettre en musique l’hiver, la neige et les flocons, le vent, le froid. La musique suit Rosalie sans jamais ralentir son pas ; lĂ©gère comme la neige, cristalline comme un glaçon, rigoureuse comme le froid, terrifiante comme le loup.

La traversée du conte dure 20 minutes. 30 si l’on ajoute la présentation des instruments.

Rosalie s’adresse Ă  l’enfant Ă  partir de quatre ans, mais aussi aux plus grands…

1 RĂ©citant, 1 chef

1 Flûte , 1 Hautbois,1 clarinette, 1 basson, 1 Cor, 1 trompette, 1 trombone.

Harpe, 1 Percussion (timbale, glockenspiel, cymbale suspendue)

Quintette à cordes  ( 9 cordes ou plus )



Rosalie ne possédait rien. Elle connaissait la neige sur le bout de la langue. Elle appelait les flocons par leurs prénoms : flocon, flocon, flocon et entre un flocon et une floconne, elle ne faisait pas de différence, elle les aimait tous de la même façon.


Une nuit elle entendit le houlement du loup.

— Hou hou !

— Ici, ici ! répondit Rosalie.

— L’arbre n’est pas avec vous ? demanda le loup.

— Il est sorti ! répondit Rosalie


CONDUCTEUR EN PDF /: Rosalie conducteur V4



Anne Houdy est poète, avec six ouvrages aux éditions Le Bruit des Autres , du théâtre chez Tituli

En direction de la  jeunesse du théâtre chez L’Agapante & cie

Un roman Lucien Lucien chez Alice Editions.

Vient de paraitre Mes Jacques, postface de Jacques Rebotier aux Ă©ditions Harpo &

Nicolas Mazmanian est Ă©ditĂ© chez Hody Musique et les Ă©ditions d’Oz


Ambassade LA 2017

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Nicolas Mazmanian ‘s LA concert Review by Jonathan Burkhead:

Hailing from France’s largest Mediterranean costal town, composer-pianist Nicolas Mazmanian brought the humble nature of Marseille to a wonderful audience at the Colburn School in Los Angeles. His expressions of love and positivity captivated the listeners at the event, and sparked much intrigue toward his career path. Here is a man who keeps that notion of the American Dream alive and well. Mazmanian had expressed that France’s music scene thrives with experimentation. While he enjoys all facets of art, Nicolas feels no need to change his unique contributions to music. It seems to be that LA would be the perfect location for his music to thrive. This is a city where creativity manifests itself in an infinite amount of ways, and anything could be fair game. While he does declare his influences to mainly be those of classical composers, it does not make his music conventional in any sense. His technique and manipulation of the piano lead to contrasting tones and very well-crafted gimmicks. “Theme et petites variation” (Theme and Little Variations) is an excellent example of how versatile his playing his. The most impressive aspect of this piece how the fortissimo and pianissimo are structured into the piece. It is common for pianissimo playing to emerge into fortissimo, but he cleverly does the opposite. Initially, the faster tempos and louder sounds are already riveting to the audience, but the transition into slower and softer music are actually quite climactic. It is very difficult to execute such a feat, but Mazmanian nails it. In addition, the “Theme et petites variation” is supplied by an intensely unexpected gimmick three-fourths of way through the piece. It only added allure, and became one of the highlights of the performance. “Exaltation” was one of the longer pieces, and it served two very distinctive sections. The first was more vivacious, and the second was far more reserved. This contrast was interesting, because it represented the piece with two different atmospheres. It nearly felt as if it were a miniature epic. When it comes to the inspiration behind his lovely music, “Le lever du jour” (Sunrise) perfectly captures what he wants to express. He definitely embraces the joy love brings, but the darker, heavier sounds of this piece can provide the listener with a different perspective. He does not convey pain, but rather a beautiful sadness that comes with love. In addition, “La lever du jour” really implies a new beginning. That concept is a wondrous one that bring about new light and a natural confusion. The contrasting reactions to this beginning are beautiful incorporated in this piece, but it ultimately remains positive and happy. That is truly what Mazmanian wants to represent in his music. Nicolas Mazmanian is an ambitious, kind-hearted free spirit who always remains true to and in control of his creative freedom. Through his music, he’s inspired by joy and brings happiness to his listeners. His performance in Los Angeles has clearly inspired him to become more affiliated with this city. His strong convictions and idiosyncratic approaches would be perfectly suited for LA. This is a man who makes a fairly conventional genre uniquely his own, and that’s not an easy feat to accomplish.

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Article La Provence concert arménien, 12 déc 2016

Article La Provence concert arménien, 12 déc 2016

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