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\n \n About work: Symphony No. 5, op. 37 (1964) represents a mature work in which the spontaneity and impulsiveness so characteristic to the author reach a level on which they are not only controlled by the intellect but stimulated by it. The symphonic cycle, adhering to the traditional 4-part scheme, with the musical scope of the individual parts and their mutual relationship is entirely original and does not attempt at imitating already known treatment.
\r\nFirst part – Espressioni: The prescribed rhythm at the beginning (Largo meditativo anche drammatico) expresses the fundamental architectonic character and scope of the composition–alternating of meditative and dramatic moods. The form is built of several motive cores. The introductory motive and the motive appearing in the topmost gradations are comparatively constant, but the other are being developed by the composer in a rather complicated fashion and frequently altered. The evolution process rises from the meditative accents to the dramatic tones in three graduated waves, both as to space and dynamics. The third brings up the form to the central culminating point (Concitato). A special feature of Kardoš’s variation technique is the constant interpolation of the motive context, as if every thought were illuminated from all sides. The result is an unrepeatable, non-schematic form which though complicated, remains within the reach of the mind’s understanding.
\r\nIn the second part – Ridicolamente (Allegro) – the composer consciously simplifies the form as a whole, organizes his material on a lapidary round scheme and provokes a grotesque, ironic, even mocking mood. Apart from the thoughts themselves which are being developed in a complicated and changing meter the instrumentation as used here contributes to the general picturesque impression. The composer leaves out the wooden wind instruments, strong instruments and the harp and makes use only of the copper instruments, the full battery of percussion instruments with the marimba and the piano. He deals carefully with this unusual orchestral colouring, not forgetting the necessary equilibrium of form. The contrasting sections inserted among the returning themes of the main thought form a structural relationship in such a way that the first, beside the coda, is the only section of the form where the full sound of the selected instrumentation is used, while the other is exhibited solely by a solo instrument (piano cadence). The melodic and harmonic element is formed by the same intervals and interval relations that are typical for the entire symphony. The morphological unity and the graded relationship of all the thought forms in the composition are proof of the high musical intelligence of the composer and of his endeavour at reaching a perfect style.
\r\nPart three – Ritorni (Allegro raccontando) in the first section starts from the initial motive of the first part with six-tone series built of the character intervals of the composition. The harmonic-melodic process relates to two modal centres acting simultaneously (d sharp, c) the simultaneous sounding of both forms the harmonic centre of gravity at the beginning and at the end of the form. The first section is interrupted by an episodic solo of two clarinets. On returning it is developed in a complicated manner and then flows into another episode characterised by the sound of copper instruments and syncopate rhythm. This variation is constant and appears again twice. But no return gives the impression of a static moment, for not the entire forms return, only their initial impulses. From the point of view of musical dynamics of this part, the central significance lies in the other section with a come-back of the fundamental thought (poco animato) which is being developed and gradually increased to a grand culmination. The thought of the come-back is stressed by the quotation of a moving “cover“ motive from the first part, at the end of the relaxation after the central culmination. Later in the slowing down coda other reminiscences appear on the first part, this time through the initial motive. This part has the same characteristic as the first–it is equally complicated and original, but, at the same time, logical and clear from the point of view of perception.
\r\nPart Four – Finale (Allegro vigoroso) approaches the type developed by European classical modern music, one that rests on the union of the entire cycle through returns to fundamental motives and on an expression energetically graduated, more extroverted that introverted. It lies on the plan of a broadly conceived sonata form from the point of view of melodic-harmonic laws and the linking of thoughts the same principles hold good here as in the other parts. Almost all the thought elements from the preceding music are to be found here. In the concluding section an impetuous motive from the first part is brought into action which, in a sharp fortissimo crowns the extensive crescendo. The philosophical aspect of such an approach should not be overlooked; the composer through a solemn close stresses the importance of the symphony and makes the strain ever present in the symphony flow out into an optimistic conclusion.
\r\nKardoš’s Fifth Symphony is a worthy continuation of his symphonic works. He has shown here mastery of composition and depth of thought. Some of the structural features, especially in the field of variations and come-back represent new achievements in composition technique and point to further perspectives in the author’s composition activity.
\n (Juraj Hatrík, In: foreword to the score. Praha-Bratislava : Editio Supraphon, 1969.)
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\n Movements:
\n\n Espressioni. Largo meditativo anche drammatico\n \n
\n\n Ridicolamente. Allegro\n \n
\n\n Ritorni. Allegretto raccontando\n \n
\n\n Finale. Allegro vigoroso\n \n
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First performance in Slovakia

\n \n \n 22.04.1965,\n Bratislava Music Festival,\n Concert Hall of the Slovak Philharmonic,\n Bratislava,\n SK\n\n
Performers: Symphony orchestra of the Czechoslovak Radio in Prague, Alois Klíma (dir.)\n
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