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The London Symphony
Classical music based its focus on precision, clarity, and the formal structure (Lowe, 4). The dynamics of the music frequently change as the result of all the performers simultaneously changing the dynamic level (Kamien, 8). The change is quite enjoyable as the performers go through crescendo. The softer sounds are played and become loud gradually until the loud sounds pick up with the tempo of the beats. The music begins loudly, and at 00.10 seconds, it goes low before picking up at 00.18 seconds.
The rhythm is a minor aspect and cannot be used to explain the classical style as it has multiple patterns. The composition conveys a consistent rhythmic design, but it is not repeated at any points. The rhythm might be seen as dotted, slow, cardiac or steady since the various types of musical instruments used in the composition rise and fall at uncertain times.
The beat in the orchestral composition is in triple meter, and it is continuously maintained and significantly stands out. The various musical instruments used in creating the great beat are the string instruments namely the violas, double bass, cellos and the 1st and 2nd violins. The woodwind instruments, that is, the oboes, bassoons, clarinets, and flutes (Lowe, 8). The brass instruments were also used namely trumpets and French horns. Finally, the Percussion instruments specifically, the timpani.
The tempo of the musical composition is an accelerando. It is so as it is not maintained and continuously changes from time to time.

It begins at a slower pace, and then it picks up the speed with an increase in pitch of the instruments (Lowe, 11). It brings an understanding as the increase in tempo and tone bring about an expression of feelings by the performers. An estimation of the beat per second in the musical composition is 180 beats per minute.
There is the detail of homophonic harmony in the composition following its rhythm. The progression is constant with many chords playing concurrently as the rhythm continues. The harmony brought about is consonant since the chords playing are restful and stable to their distinct rhythm in the process (Kamien, 10).
As the harmony created, the texture is also homophonic with shifts that are frequent from time to time. It revolves around the melodic statements and remains so. The homophonic texture remains constant from the beginning to the end of the composition with minor shifts at different times (Lowe, 18). The texture is rich as it is more precise and lighter compared to the Baroque music. The lower constant pitch that sustains the melody with the other chords that create an elaborate theme on top of it illustrates it.
This composition has a Sonata-allegro form of structure, which takes a ternary form of ABAA. The sections in the music contain the same melody but not everything else in the music is the same at each time since the chords, and the instruments change their pattern of flow. The music has four sections each conveying the same melody tune that is played by the string instruments and flutes. The parts are at points 18 seconds from the beginning, 1.30 seconds, and 3.25 seconds and at 4.04 seconds.
The timbre or the tone quality of the music is brightly attributing to the several numbers of instruments used in bringing up the enjoyable melody. The instruments also bring about the transposing effect in musicality, and this makes the performance to become lively demonstrating the brightness and strength in playing this composition (Lowe, 24). The tone color comes from the instrumental music, and the violins seem to provide the driving force for the whole performance. The feeling in the coordination of all the instruments makes the performance quite enjoyable.

Works cited
Kamien, Roger. Music: an appreciation. New York, NY: McGraw-Hill, 2011.
Lowe, Melanie D. Pleasure and Meaning in the Classical Symphony. Bloomington: Indiana University Press, 2007. Internet source