This article explores the vast underside of György Kurtág’s published work. The so-called flower motif that first appeared in the Bornemisza Péter mondásai [The Sayings of Péter Bornemisza] Op. 7 (1963-68) has proliferated and permeated a significant part of Kurtág’s compositions. The impact of this type of motivic relationship is discussed in the context of Officium breve in memoriam Andreae Szervánszky Op. 28 (1988-89) for string quartet. The information presented here is based on the author’s detailed knowledge of the composer’s working documents conserved in the György Kurtág Collection of the Paul Sacher Foundation.