FOLK AND NATION After these many digressions let us return to Má
vlast and witness the outcome of its musico-poetic strategies by
comparing the coda of Vltava (Ex. 9-5) with the peroration of
Blaník (Ex. 9-6). The former brings the Moldau theme into sudden
juxtaposition—or collision—with the explicitly labeled “Vyšehrad
Motive,” the theme on which the previous poem in the cycle had
been built. The castle-rock theme is in a grandiose threefold
rhythmic augmentation with respect to the rushing river music
that continues beneath it, carrying echoes of the forest
fanfares, and so the effect of climactic magnificence is
inescapable, even to an audience unaware of the thematic recall.
To an audience properly aware, of course, the effect is an
ecstasy of českost. - Citation (MLA): - Richard Taruskin.
"Chapter 9 Slavs as Subjects and Citizens." The Oxford History
of Western Music. Oxford University Press. New York, USA. n.d.
Web. 18 May. 2013. <http://www.oxfordwesternmusic.com/view/Volum
e3/actrade-9780195384833-div1