“Silvestrov thinks that a coda is more than something which brings a work to an end. It is one of the most important parts of a composition, or at least just as important as the other sections. His cantatas and symphonies all have lengthy codas, and so do his songs, in which the postludes sometimes seem to take on a life of their own. These lingering “postludes” subsequently evolved to form a new genre. The process began with the chamber triptych Three Postludes. The first Postlude DSCH for viol...

I Postlude DSCH for soprano and piano trio - II Postlude for violin solo - III Postlude for cello and piano