Compared with the complexities of "Kuyaway," this song is like a breath of fresh air.  Whereas "Kuyaway" is earthy, even vulgar, "Suray Surita" is pure and elegant.  Public performances were quite different from what is heard here since it was placed in the set with only Moisés' guitar accompaniment.  Even with orchestral accompaniment, though, the structure of the song is kept simple by the use of a tasteful, restrained arrangement.

Despite the grisly notes supplied to audiences, this is a beautiful composition of great sadness and yearning.  The orchestration was obviously carefully prepared so as not to detract from the inherent beauty of the melodic line and Yma's singing.  Simple chords of sustained strings and soft winds provide a warm, noble background while an oboe occasionally weaves a plaintive counterpoint, giving this piece of unrequited love an appropriately stark, lonely atmosphere.

It opens with a short, chant-like figure sung by Yma in the middle voice which is followed by the main theme which sits around the upper passagio of F.  Yma uses a trembling tonal quality and quivering vibrato for almost the entire song, achieving the hushed intimate feeling that she is singing to herself.  There is a sense of desolation in this simple melody and Yma interprets it accordingly with intense, breathy, almost sobbing cadences and shadings.  Without a doubt, the loveliest phrase in the song can be found near the conclusion of the first section where Yma rises to an uncommonly beautiful, sustained high C rich in overtones.

The B section has a brief change of mood as Yma swoops to a series of staccati high Ds that are surprisingly intense (due to her clever use of whip-like cut-offs as expressions of drama).  The final measures of the song include a forceful rise to a top B flat of great focus and power, left by a descending swoop (a successful dramatic effect) and the song ends as Yma sustains a G at the top of the staff, gradually fading away.  In his article for Records and Recording, Maurice Leonard likened Yma's high B flat with that of Maggie Teyte, the soprano famous for her Melisande in Debussy's opera Pelleas et Melisande.

"Suray Surita" remains Yma's ultimate lyrical statement.  Typically inconsistent, during live concerts - at least in Russia, "Suray Surita" had metamorphosed into an orchestral number called "Serenata India".  Predominately scored for strings it is almost as lovely as the original.  On the Russina tour the piece took about 2:05 to perform and obviously served as an interlude of some sort.