Faradj Karajev composed three versions of the same Postlude, the third of which was written for two pianos with a double cast. It is not the complexity of the music but the thin and transparent sonorous execution which entails these differences in cast. Senza suono and Al niente are the most frequent indications on the score. The composition begins with the barely audible repetition of the same note: A. The repetition is frequently interrupted by long silences and the note grows louder with each passing octave. It is sustained in the harmonic resonance against a horizon of clusters and subsequently punctuated with ornamental motifs that are dominated by the fifths. The combination of all these elements makes for an atmosphere which is both serene and mysterious. This atmosphere is suddenly disrupted when the pianos burst into song (in Postlude II, this song is performed by a string quartet which remains hidden from the audience). The composition ends in a flutter of fifths. In Postlude II, this sparkling is prolonged by a swelling contrabass recitative.