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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 Agomars 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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