About the creation

The title of this work is taken from Near-Eastern folklore and describes a kind of rondo-form in which the recapitulations of a basic theme steadily undergo variations. The composer has tried to employ the basic elements of eastern music and musical structure in the frame of a composition conceived in modern western style and technique.

In the development of the melodic theme, the composer follows the principles of the maqam: the melodic line starts from a basic note and develops in everchanging intervals till it finally returns to its "root"; frequent use is also made of micro-intervals common to oriental music, such as ¼- and ¾-steps. In the rhythmical texture the "breathing rhythm" of monodic chant has influenced the composer, while he regards harmony from the point of view that melody and sound cannot be separated from each other. In re-creating a traditional form of folk music, Ehrlich does not follow it strictly but only uses it as the starting point; he is especially attracted by the "mosaic technique" dominating the music of the Near East.

Bashrav opens with a theme that at first seems homogenous but soon appears to be composed of two diverging motives, one of which forms the dynamic-emotional improvisatory sections of the work and the other providing a contrast described by the composer as the "spiritual-creative."

Ehrlich himself draws attention to the folkloristic features attempted: "The rhythm follows only the dictation of the player's mood. Cross rhythm is built on different levels and derived from different material: a) melodic; b) ringing percussion-type; c) muffled percussion-type. Rhythmic patterns are varied and differentiated ~hen returning.)'