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I'm fairly certain in Beethoven's Opus 2 Sonata, that the intention was to delay the sense of falling sequence. Since he goes from the tonic to dominant... using the Mannheim Rocket method... the expected resolution is generally achieved via downward sequencing of the primary or secondary motivic material. At the end of the example, he also changes the contour of the 16th note pattern- again messing with the listener's anticipation.

This is actually quite nice. I think you got it. Study up on blues structure to get a better vibe for it -but I think you're on the right track!

The whole concept is a great start. Is this just for strings? Because you might be able to add some wind parts in there (if you are going for a true orchestra format). The chorale in the beginning could use some woodwinds (give them the main theme like what piano has) and then when you go into the section with all of the moving parts, (again have the woodwinds play those fast notes) and add long tones from the brass to keep the harmony going. You can even alter the harmony (change the chord progression of the long tones a bit) and not have to worry about changing any of the moving parts as long as the sustained tones flow well.