Duration: c. 5:00
Difficulty: VI (see Ratings for explanation)
Publisher: European American Music Company
Cost: Score and Parts (print) - $39.00
Percussion I-II-III-IV-V, including:
- Bass Drums (2)
- China Cymbal
- Congas (4)
- Cowbells (2)
- Log Drums (4)
- Metal Plates (3)
- Ratchet (large)
- Shekere (2)
- Sleigh Bells
- Snare Drum
- String Drum (Lion's roar)
- Suspended Cymbal (2)
- Tenor Drum
- Timpani (4 drums)
- Tom-toms (3)
- Wood Blocks (3)
None discovered thus far.
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
(Needed - please join the WRP if you can help.)
- Missouri: Percussion Ensemble A
- Ohio: 651 – Percussion Ensemble A
- Texas: Percussion Ensemble I
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)
- Rouse, C. (1981). Ogoun Badagris : For Percussion Ensemble [score]. Helicon Music Corporation: Valley Forge, Penn.