• BRASSMANIA Large Ensemble - Digital Sheet Music
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BRASSMANIA Large Ensemble - Digital Sheet Music

Brassmania,”

In “Brassmania,” Jesús Agomar transforms the brass ensemble and percussion into a vivid sonic landscape of glinting metal, rhythmic propulsion, and gestural intensity. The composition was premiered by the ensemble of the Orquesta Comunitaria de Gran Canaria (OCGC) and marks a mature stage in Agomar’s compositional development. Over approximately six minutes, the piece maps out a trajectory of tension and release: the brass voices engage in sharp articulations, overlapping motifs, and contrasting textures, supported by percussion that emphasises drive and punctuation. The term “mania” in the title suggests both a playful exuberance and a certain frenetic energy — the metallic ensemble becomes both orchestra and machine.Agomar explains that the work expresses “a kind of soundtrack” (manía persecutoria) through the instruments of metal, turning the ensemble into a unified force with its own identity. Listeners may hear echoes of fanfare, jazz-band attitude, and modern chamber-music sophistication. Yet, the piece remains firmly rooted in the mindset of the brass ensemble: bright registers, power, resonance, and the interplay of group sound.

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Details

Summary
Format:
Score and Parts
Item types:
Digital
Level:
Advanced
Usages:
School and Community
Number of Pages:
83
Detailed Description
Large Ensemble Cymbals, Euphonium, French Horn, Timpani, Trombone, Trumpet, Tuba, Vibraphone, Woodblock, Xylophone - Level 5 - Digital Download

SKU: A0.1745022

Composed by Jesús Agomar. This edition: pdf, streaming. 21st Century, Contemporary, Film/TV. 83 pages. Jesús Agomar #1305765. Published by Jesús Agomar (A0.1745022).

In Brassmania,” Jesús Agomar transforms the brass ensemble and percussion into a vivid sonic landscape of glinting metal, rhythmic propulsion, and gestural intensity. The composition was premiered by the ensemble of the Orquesta Comunitaria de Gran Canaria (OCGC) and marks a mature stage in Agomar’s compositional development. Over approximately six minutes, the piece maps out a trajectory of tension and release: the brass voices engage in sharp articulations, overlapping motifs, and contrasting textures, supported by percussion that emphasises drive and punctuation. The term “mania” in the title suggests both a playful exuberance and a certain frenetic energy — the metallic ensemble becomes both orchestra and machine.
Agomar explains that the work expresses “a kind of soundtrack” (manía persecutoria) through the instruments of metal, turning the ensemble into a unified force with its own identity. Listeners may hear echoes of fanfare, jazz-band attitude, and modern chamber-music sophistication. Yet, the piece remains firmly rooted in the mindset of the brass ensemble: bright registers, power, resonance, and the interplay of group sound.

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