Abstract
Abstract The present research has its starting point in the obviously common origin and simultaneous creation of the initial theme of Beethoven's String Quartet, Op. 132, and of the principal subject of the Great Fugue, Op. 133, first observed from Beethoven's sketchbooks by Gustav Nottebohm in the 1870s (Beethoveniana II, pp. 548-551), and further in the remarks of Paul Bekker (Beethoven, German edn., Berlin 1911-1912, pp. 533-534), who casts his nets even wider, connecting these themes with a number of motives in Op. 131.
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