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Scelsi's 'Hurqualia' (1960), first of his six works for grand orchestra, differs substantially from the rest of his output. The analysis of different aspects of the works permits to describe its characteristic features and symbolism. Whereas Scelsi's idiom relies mainly in Indian-Tibetan evocations, it is the spirit of Arabia, which resonates in this work. One of the elements, which reflect it, is the timbre, with - in contrast to other compositions - reed woodwind instruments accentuated (also by amplification), as well as viola and double bass emphasized. This is explained by the authoress as a reference to the sound of Arabic oboe 'zurna' and the 'rebab' respectively. The work's distinctiveness is manifest also in rhythmic dynamism, surprising in the context of Scelsi's output, mostly contemplative and static in its character. Finally, the meaning of its title is explained as the name of Muslim mythical emerald land; the journey to this land being a symbol of the initiation process. The authoress argues that the metaphor of road, so clearly present in the music and symbolism of this composition, is the most appropriate key to interpreting Scelsi's poetics in general.
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