The beginning of the third and final section of the book, Chapter 7, looks at another response to the anxieties accompanying the transition from Stagnation to Perestroika in the 1980s. The chapter studies the eschatological “postludes” cultivated by Valentin Silvestrov, including, most prominently, his monumental Fifth Symphony (1980–82), a nostalgic re-imagining of Bruckner and Mahler for the end of time. For Silvestrov the genre of the postlude represented a “collection of echoes, . . . a form . . . open not to the end, as is more usual, but to the beginning.” “It is not the end of music as art,” he added, “but the end of music, in which it may remain for a very long time.” This chapter thus considers the cultural work performed by Silvestrov’s resulting sense of “unending ending.” It treats his eschatology as a “useful fiction” to illuminate the conflicted sensations of stasis and acceleration that characterized the last decades of the USSR. Silvestrov, like many in the late twentieth century, began seeing the end everywhere. He responded by composing its echoes. The resulting music spoke to the sense of malaise and environmental catastrophe that gripped the USSR during its final years even as the promises of glasnost and perestroika took hold.