In his third quartet, Arriaga begins to break with his eighteenth century models—Haydn and Mozart—and produces a work more in line with middle-period Beethoven, perhaps Schubert, and, most of all, Spohr. Arriaga should not be criticized too strongly for writing music reminiscent of other composers; at the time, he was, after all, only 17.

The sonata-form first movement, Allegro, features especially vigorous themes, although the second subject provides the expected lyrical contrast. As in Spohr's "Quatours brillants," the first violin takes pride of place through much of the movement, although the writing is not as exhibitionistic as was Spohr's wont, and the violin does often re-integrate itself into the main ensemble.

The rustic Andantino (Pastorale) introduces a high register country air, punctuated by rather woozy two-note figures that could allude to either birdsong or inebriated shepherds. The second half of this movement is nothing less than a storm sequence, already foreshadowed in the country air, and calling to mind similar episodes in Beethoven's Pastoral Symphony and Rossini's William Tell Overture. The storm subsides, and the movement ends with a brief reprise of its opening material.

The Minuet, dark and restless, could almost pass for Beethoven, except that its Trio is more naïve and dance-like. This is the one moment in this quartet that is Haydn-esque, although it relies on repetition far more than Haydn ever did.

Finally comes the Presto agitato, whose agitation is surprisingly good-natured considering what has already come to pass. Again, the strongest influence seems to come from Spohr, with its brilliant, agile writing (especially for first violin) and occasional nod to operatic style.

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