Ogoun Badagris

Christopher Rouse

General Info

Year: 1976
Duration: c. 5:00
Difficulty: VI (see Ratings for explanation)
Publisher: European American Music Company
Cost: Score and Parts (print) - $39.00

Instrumentation

Full Score
Percussion I-II-III-IV-V, including:

Bass Drums (2)
Bongos
China Cymbal
Congas (4)
Cowbells (2)
Cuica
Guiro
Log Drums (4)
Maracas
Metal Plates (3)
Ratchet (large)
Shekere (2)
Slapstick
Sleigh Bells
Snare Drum
String Drum (Lion's roar)
Suspended Cymbal (2)
Tam-tam
Tenor Drum
Timbales
Timpani (4 drums)
Tom-toms (3)
Vibraslap
Wood Blocks (3)

Players shouting

Errata

None discovered thus far.

Program Notes

Ogoun Badagris derives its inspiration from Haitian drumming patterns. Ogoun Badagris is one of the most terrible and violent of all Voodoo loas or deities, and can be appeased only by human blood sacrifice. This work may thus be interpreted as a dance of appeasement. The four conga drums, the metal plates, the sleighbells, and the cabasa represent traditional instruments used in the ritual. The word "reler," which the performers must shriek at the conclusion of the work, is the Voodoo equivalent of the Judaeo-Christian "amen."

- Program Note from publisher

Dedicated to William Youhass.

- Program Note from score

Completed in 1976 for the Ithaca College Percussion Ensemble, Christopher Rouse offers the following insights into this work:

Ogonn Badagris derives its inspiration from Haitian drumming patterns, particularly those of the Juba Dance. Hence, it seemed logical to tie in the work with various aspects of Voodoo ritual. Ogoun Bodagris is one of the most terrible and violent of all Voodoo loos (deities), and he can be appeased only by human blood sacrifice. This work may thus be interpreted as a dance of appeasement.
The four conga drums often act as the focal point in the work and can be compared with the role of the four most basic drums in the Voodoo religion -- the be-be, the seconde, the maman, and the asator. The metal plates and sleigh bells are to a certain extent parallels of the Haitian ogan. The work begins with a brief oction de grace, a ceremonial call to action in which the high priest shakes the giant rattle known as the asson, here replaced by cabasa. Then the principal dance begins, a grouillère: ... which in turn is succeeded by the Danse Voodoo at the point at which demonic possession occurs. The word “reler," which the performers must shriek at the conclusion of the work, is the Voodoo equivalent of the Judeo-Christian "amen."

- Program Note from U.S. Marine Band concert program, 14 December 2016

Media

(Needed - please join the WRP if you can help.)

State Ratings

Missouri: Percussion Ensemble A
Ohio: 651 – Percussion Ensemble A
Texas: Percussion Ensemble I

Performances

To submit a performance please join The Wind Repertory Project

Cleveland (Ohio) State University Percussion Ensemble (Luke Rinderknecht, conductor) – 26 January 2023
Marquette University (Milwaukee, Wisc.) Diederich Wind Ensemble (Joel Flunker, conductor) – 25 April 2021
New England Conservatory (Boston, Mass.) Percussion Group (Charles Peltz, conductor) – 14 April 2021
United States Marine Band (Washington, D.C.) Percussion Ensemble - 14 December 2016 (2016 Midwest Clinic)
Wheaton (Ill.) College Percussion Ensemble (Kathleen Kastner, conductor) – 17 November 2014

Works for Winds by This Composer

Berceuse Infinie (2017)
Ogoun Badagris (1976)
Supplica (2013)
Wolf Rounds (2006)

Resources

Rouse, C. (1981). Ogoun Badagris : For Percussion Ensemble [score]. Helicon Music Corporation: Valley Forge, Penn.