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. 4 May. 2016. <http://www.oxfordwesternmusic.com/view/Volume3/actrade-9780195384833-div1-009004.xml>.
- Citation (APA):
- Taruskin, R. (n.d.). Chapter 9 Slavs as Subjects and Citizens. In Oxford University Press, Music in the Nineteenth Century. New York, USA. Retrieved 4 May. 2016, from http://www.oxfordwesternmusic.com/view/Volume3/actrade-9780195384833-div1-009004.xml
- Citation (Chicago):
- Richard Taruskin. "Chapter 9 Slavs as Subjects and Citizens." In Music in the Nineteenth Century, Oxford University Press. (New York, USA, n.d.). Retrieved 4 May. 2016, from http://www.oxfordwesternmusic.com/view/Volume3/actrade-9780195384833-div1-009004.xml