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a voluntary played at the end of a religious service

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As with many of Dichterliebe's postludes, the responsibilities for the pianist are enormous, as he/she must portray a depth of emotion not given to the singer.
The choice for comparison, however, is unfortunate: the five Haydn settings chosen, though using the same melodies as five of Beethoven's, were written for William Napier and are scored for just violin and figured bass accompaniment, with no preludes or postludes, so that it is difficult to make meaningful comparisons about the approaches of the two composers.
His songs are through-composed and their piano parts have some counterpoint with extended preludes, interludes, and postludes.
As a weighty postlude built into the chapter on Die Meistersinger, he tackles the issue of Beckmesser's possible Jewish characterization with objective intellectual rigor, but it will still not satisfy some readers.
Roocroft's serene, beatific stage-presence held our attention even in the lengthy orchestral interludes and postludes, and her control over line in Strauss' melismatic phrases was mightily impressive.
Often melismas in the texted parts were played by instruments alone as preludes, interludes, and postludes to the vocalized sections.
The most obvious manifestation of this is the sheer length of the piano preludes, interludes, and postludes, which has no real precedent within song cycle literature (though there were foreshadowings, as will be shown later).
Tall and slim, he prowls around the curvature of the open piano lid totally absorbed in the music he is delivering, whether actually singing or biding his time as his accompanist (here the insightful and compelling Julius Drake) delivers preludes, interludes and postludes.
In the original manuscript, Quesnel specified the length of introductory passages and interludes; Beckwith has also added several postludes, in keeping with eighteenth-century practice.
Wordless sections of songs--preludes, postludes, interludes--require the pianist to create a tone poem of sorts.
Alison Wells' radiant engagement with the audience was an object-lesson to every singer, eyes continually alert, body-language, even when waiting motionless during piano postludes, always expressive.
We have the unique challenge of filling the "space" (also known as the "air"): all of the instrumental music without singing or text (and longer than a mere pause), found in introductions, interludes, or postludes of our songs.
His relationship with masterly, probing accompanist Malcolm Martineau was another object-lesson, singer quietly leaning against the instrument as Schumann's wonderfully poignant piano postludes unfolded.
Unfortunate, also, are those songs in which he seems to follow Schumann's practice of writing longer piano postludes.