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\n \n About work:

2nd Symphony by Dezider Kardoš came out in 1955 and its sub-title again carries the author’s orientation thematic of the native land. Here he speaks of the fate of the homeland during the 2nd World War. The work is in three movements, in the first movement the artistic reminiscence of his own youth with the many fights and shudders which he lived through with the homeland shortly before the outbreak of the war. The second movement, expressively tuned and painting the anxieties of the homeland during the last war, and is the inner rejection of war in the artist. In the third movement we see a picture of joyful, peaceful life of Slovakia. The happy festivity in not only a feast of the homeland and its folk, but is also a song of faith in the life of peace and love to mankind.
The First Movement of the symphony is arranged in sonata form. The principal thought appearing after a broad introduction in no. 1. It is arranged in tripartite tact in such a way that following the new middle part there comes forward a reprise in the orchestra in full. The broad formulating thoughts give also opportunity for the partial execution (Durchführung). As the chief motif dies away the interlocked passage rises up and prepares the way for the sub-ordinate passage. The contrasting sub-ordinate sentence begins in no. 6 with the oboe. It is also broadly built up with unfolding features, climaxing and then again restful.
The unfolding begins in Allegro impetuoso in no. 9. Contemporating both exposition of thoughts with a quantity of contrasts and dynamics. The gradation reaching its height in no. 18, where we come in contact with motived features of the sub-ordinate thoughts. Here the whole of the first movement in the symphony reaches its climax. Then follows the cadence the preparation for the reprise which is realized with that material of thoughts which was already noticeable in the introduction.
The reprise begins in no. 20 and has a short run and then in no. 23 the broadly built code begins. It has two parts. The first is worked out in variations with features of the sub-ordinate motif and the musical process leads to a new climax; at its height we meet the motif features of the introduction. The second round off the section of the code beginning in no. 27 and distinguishes the supple harmonies of the group of trumpet-blowing instruments.
The Second Movement of the symphony is built on a large tripartite form. The chief motif of this movement appearing in the pizzicato violoncellos and contra-basses. I tis also broadly built with technical unfolding and development. In no. 2 there comes forward its cantabile modification in answer to the preceeding section. The repeated appearance of the original form of the chief motif supplemented by the tone of pizzicato with wooden instruments and rounds off the chief motif simultaneously with it new variation and development. The climax is reached in no. 6 when the chief motif is heard in full sound of the trumpeting instruments. After a rapid cadence the scene becomes restful beginning at no. 7, and so rounds off the whole work.
Now follows an episode characteristic of the sound of the flutes, bells and harps which enter the middle part of this movement. After their unfolding the episode no. 13 returns as a funereal march, which fits thoughtfully into the complex middle part of the work. After the advancing gradation two bars are sung before no. 16 at the climaxing catastrophy. Then follows the mournful song of the flutes and is taken up by the bass clarinet. Beginning at no. 17 there is a return to the section of the complex chief (first) motif. Its return is noticeable at the beginning of no. 19, as a continuation of the following major likeness to the episodes with flute and bell-playing, which in accompaniment of string instruments conclude the second movement.
The Third Movement is built on the rondo form beginning with disturbing orchestral fullness. It is followed in no. 1 by the chief motif introduced by trumpets. It is repeated and partially unfolds as answer to the past disturbing diapason there comes a lyrical mood in no. 4. After a slight elation in no. 5 the entrance of the sub-ordinate motif is prepared. The sub-ordinate motif is based on answering between string instruments and celesta with harp; after its repeating there appears as if in contra-part new continuation in dance character in no. 7. After it has died away preparation is made in no. 8 for the return of the chief theme. The chief theme returns in no. 9 in wood blow-instruments with counter-point accompaniment of string instruments. Its further unfolding is new. After a short climax in no. 11, and restfulness in no. 12, the sub-ordinate motif returns this time in the horn with a more heroic character. The answer is taken up by the oboes. After a small episode with fresh motif material there follows in no. 15 the broad worked out code. Its subject-matter coming from the first movement of the symphony, with which its motif reaches its conclusion. The climax of the code is seen between no. 18–19, which are followed by the introduction motif, and in the trumpets again the chief motif which again unfolds itself. The rounding off section of the code begins at no. 21, in which the string and wood-instruments raise up a grand final and so rounding off the whole symphony within the full brilliancy of the orchestra.


\n (Ladislav Burlas, in: Foreword to the score, Bratislava : Slovenské vydavateľstvo krásnej literatúry, 1958)
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\n Movements:
\n\n Adagio tranquillo. Allegro agitato\n \n
\n\n Adagio con espressione\n \n
\n\n Allegro con fuoco\n \n
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First performance in Slovakia

\n \n \n 23.03.1956,\n Reduta,\n Bratislava,\n SK\n\n
Performers: Mihai Constantinescu (vn), Slovak Philharmonic, Ľudovít Rajter (dir.)\n
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