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.
Sign-in/Register to access full text options 
Talk to us
Join us for a 30 min session where you can share your feedback and ask us any queries you have
Schedule a callDisclaimer: All third-party content on this website/platform is and will remain the property of their respective owners and is provided on "as is" basis without any warranties, express or implied. Use of third-party content does not indicate any affiliation, sponsorship with or endorsement by them. Any references to third-party content is to identify the corresponding services and shall be considered fair use under The CopyrightLaw.
