Intimidated by the masterpieces of Haydn and Mozart, Ludwig van Beethoven long avoided the "royal class of chamber music". His first string quartets are still in the tradition of their great models, the final movement of the G major quartet op. 18/2 is a direct "homage to Haydn".

In the series of late quartets, the quartet op. 131 takes on a special role. Beethoven leaves the classical formal schema far behind and combines the seven movements of the work into a large whole. The quartet begins with an opening fugue and features a central variation movement that offers a wide range of moods and characters.