Introduction
In his Streichquartett, Beethoven takes motivic material generated in Theme Groups 1 and 2 of the sonata exposition, and expounds upon them in the different transitional sections of the piece. By utilizing these distinct motives in different textural and harmonic contexts, Beethoven creates a strong sense of unity within the piece as a whole, while also designing a unique identity for each section.
The plan of this paper is first to identify the different areas where Beethoven borrows the motivic material and thus make explanations of the differences in existence as follows: Structural, harmonic and textural. The paper takes a vital interest on ...