Instruct: Given a question, retrieve relevant documents that can help answer the question.
Query: When did Beethoven compose his 9th symphony?
The Symphony No. 9 in D minor, Op. 125, is the final complete symphony by Ludwig van Beethoven, composed between 1822 and 1824. It was first performed in Vienna on 7 May 1824. One of the best-known works in common practice music,[1] it is regarded by many critics and musicologists as one of Beethoven's greatest works and one of the supreme achievements in the history of western music.[1][2] In the 2010s, it stands as one of the most performed symphonies in the world.[3][4]
The Symphony No. 3 in E major, Op. 55, (also Italian Sinfonia Eroica, "Heroic Symphony") is a symphony in four movements by Ludwig van Beethoven. One of the composer's most celebrated works, the "Eroica" symphony is a large-scale composition that marked the beginning of Beethoven's creative middle-period.
That peace was interrupted, however, by a physical altercation between The Prince and The Composer which broke out after Beethoven refused Lichnowsky's request to perform for a group of visiting French Soldiers. (Napoleon's French army was forcefully conquering territories throughout Europe at that time, much to Beethoven's distaste, as evidenced in the late change of dedication to his Third Symphony.) According to the composer Ferdinand Ries (1784-1838), Count Oppersdorff stepped between the two quarreling men just in time to prevent Beethoven from smashing a chair over Lichnowsky's head. Beethoven departed the Lichnowsky estate and continued his stay in Silesia at the Oppersdorff estate in Oberglogau. 
Upon Beethoven's arrival, the Oppersdorff orchestra performed the Second Symphony to Beethoven's approval. Oppersdorff then commissioned a new symphony from him - the Fourth - which Beethoven completed in October, selling the score for 500 guilders for Oppersdorff's private use for six months. It was published two years later with a dedication to Oppersdorff.
Beethoven originally dedicated the third symphony to Napoleon Bonaparte, who he believed embodied the democratic and anti-monarchical ideals of the French Revolution. In autumn of 1804, Beethoven withdrew his dedication of the third symphony to Napoleon, lest it cost him the composer's fee paid him by a noble patron; so, Beethoven re-dedicated his third symphony to Prince Joseph Franz Maximilian Lobkowitz – nonetheless, despite such a bread-and-butter consideration, the politically idealistic Beethoven titled the work "Buonaparte". Later, about the composer's response to Napoleon having proclaimed himself Emperor of the French (14 May 1804), Beethoven's secretary, Ferdinand Ries said that:
While such resemblances sometimes occur by accident, this is unlikely to be so in the present case. Nottebohm discovered the resemblance when he examined a sketchbook used by Beethoven in composing the Fifth Symphony: here, 29 bars of Mozart's finale appear, copied out by Beethoven. 
The Symphony No. 1 in C minor, B. 9, subtitled The Bells of Zlonice (), was composed by Antonín Dvořák during February and March 1865. The work is written in the early Romantic style, and was inspired by the works of Ludwig van Beethoven and Felix Mendelssohn. It was the only one of his symphonies that Dvořák never heard performed or had a chance to revise. The work was lost shortly after its composition, and did not come to light until 1923, almost 20 years after the composer's death. It did not receive its first performance until 1936.
The first use of the trombone as an independent instrument in a symphony was in the Symphony in E (1807) by Swedish composer Joachim Nicolas Eggert. But the composer usually credited with the trombone's introduction into the symphony orchestra was Ludwig van Beethoven in Symphony No. 5 in C minor (1808). Beethoven also used trombones in his Symphony No. 6 in F major ("Pastoral") and Symphony No. 9 ("Choral").
Brahms venerated Beethoven; in the composer's home, a marble bust of Beethoven looked down on the spot where he composed, and some passages in his works are reminiscent of Beethoven's style. Brahms's First Symphony bears strongly the influence of Beethoven's Fifth Symphony, as the two works are both in C minor and end in the struggle towards a C major triumph. The main theme of the finale of the First Symphony is also reminiscent of the main theme of the finale of Beethoven's Ninth, and when this resemblance was pointed out to Brahms he replied that any dunce could see that. In 1876, when the work was premiered in Vienna, it was immediately hailed as "Beethoven's Tenth". Indeed, the similarity of Brahms's music to that of late Beethoven had first been noted as early as November 1853 in a letter from Albert Dietrich to Ernst Naumann.
Dudamel began his tenure as Music Director of the Los Angeles Philharmonic on 28 September 2009 with a rehearsal of Beethoven's 9th Symphony that included the Los Angeles Master Chorale and representatives of eight community-based choruses. His first official rehearsal with the orchestra followed on September 30. On 3 October he conducted Beethoven's 9th Symphony at the Hollywood Bowl in "Bienvenido Gustavo", a free concert, and conducted his official inaugural concert featuring the world premiere of John Adams' "City Noir" and Mahler's Symphony No. 1 with his new orchestra in Walt Disney Concert Hall on 8 October.
It has been shown that this long chord sequence was a pattern that Beethoven borrowed from the Italian composer Luigi Cherubini, whom Beethoven “esteemed the most” among his contemporary musicians. Spending much of his life in France, Cherubini employed this pattern consistently to close his overtures, which Beethoven knew well. The ending of his famous symphony repeats almost note by note and pause by pause the conclusion of Cherubini’s overture to his opera "Eliza", composed in 1794 and presented in Vienna in 1803.
Admired orchestral records include Debussy's "La mer" and "Nocturnes", Dvořák's 9th Symphony and Tchaikovsky's 6th Symphony with the Philharmonia Orchestra, Mussorgsky's "Pictures at an Exhibition", Brahms's 4th Symphony and Mahler's 1st and 9th symphonies with the Chicago Symphony Orchestra, Beethoven's 3rd and 5th Symphonies, and Schumann's 3rd Symphony with the Los Angeles Philharmonic Orchestra, Mahler's "Das Lied von der Erde" with the Berlin Philharmonic Orchestra, Brahms's four Symphonies, Bruckner's 7th, 8th and 9th symphonies with the Vienna Philharmonic, and Dvořák's 7th and 9th Symphonies with the Royal Concertgebouw Orchestra of Amsterdam. Most of these discs were recorded for the Deutsche Grammophon label. His live recording of Britten's "War Requiem" made in the Royal Albert Hall in 1969 which is available as a BBC Legends recording was a Gramophone Award winner.
At this point, Mephistopheles returns and Beethoven informs the devil that he will not allow his music to be destroyed. Desperate to receive the Tenth Symphony, Mephistopheles makes another deal: if Beethoven will give over only the Tenth Symphony, then Mephistopheles will not take the composer's soul. After an appearance by Mozart's ghost, Beethoven refuses this offer as well. As a final tactic, Mephistopheles points out the window to a young orphan, and describes the tortures that she will receive if Beethoven refuses to hand over his music. Heartbroken, Beethoven agrees to hand over his Tenth Symphony. After Twist's prompting, a contract is drawn up by Fate, stating the following:
PME had a long history with the Berkeley Symphony and Kent Nagano. In 2005 Nagano recruited PME to open the Symphony’s season with the Lygeti’s a cappella work Lux Aeterna. Other Berkeley symphony collaborations include Beethoven’s Christus am Ölberge, Stravinsky's Symphony of Psalms and Oedipus Rex, San Francisco composer David Sheinfeld's The Earth Is a Sounding Board, Busoni's Doktor Faustus, Olivier Messiaen's St. François d'Asisse, Beethoven's 9th Symphony, and Berlioz’s Romeo and Juliet. In 2006 members of PME performed the world premier of Kurt Rohde’s oratorio, Bitter Harvest.
In general the symphony is sunny and cheerful, with light instrumentation that recalls the symphonies of Joseph Haydn, with whom Beethoven had studied a decade before. The Fourth Symphony contrasts with Beethoven's composition style in the previous Third Symphony, and is often overshadowed by both its predecessor and succeeding work, the celebrated Fifth Symphony which Beethoven had set aside to complete the Fourth. Despite being written in a style more akin to that of Beethoven's first two symphonies, the Fourth contains many aspects that show his growing strength as a composer, most notably the B minor Adagio introduction to the first movement, which Leonard Bernstein described as a "mysterious introduction which hovers around minor modes, tip-toeing its tenuous weight through ambiguous unrelated keys and so reluctant to settle down into its final B major."
Ludwig van Beethoven's Symphony No. 10 in E major is a hypothetical work, assembled in 1988 by Barry Cooper from Beethoven's fragmentary sketches for the first movement. All the sketches assembled were clearly intended for the same symphony, which would have followed the Ninth, since they appear together in several small groups, and there is consensus that Beethoven did intend to compose another symphony. Cooper's score was first performed at a concert given in 1988 by the Royal Philharmonic Society, London, to whom Beethoven himself had offered the new symphony in 1827. The score is published by Universal Edition, Vienna, and appeared in a new edition in 2013.
It is a common misconception that the last movement of Beethoven's Fifth is the first time the trombone and the piccolo were used in a concert symphony. In 1807, the Swedish composer Joachim Nicolas Eggert had specified trombones for his Symphony in E major, and examples of earlier symphonies with a part for piccolo abound, including Michael Haydn's Symphony No. 19 in C major, composed in August 1773.
The Symphony No. 6 in F major, Op. 68, also known as the Pastoral Symphony (German: "Pastorale"), is a symphony composed by Ludwig van Beethoven and completed in 1808. One of Beethoven's few works containing explicitly programmatic content, the symphony was first performed in the Theater an der Wien on 22 December 1808 in a four-hour concert.
The Ninth Symphony influenced the forms that Anton Bruckner used for the movements of his symphonies. His Symphony No. 3 is in the same D-minor key as Beethoven's 9th and makes substantial use of thematic ideas from it. The colossal slow movement of Bruckner's Symphony No. 7, "as usual", takes the same A–B–A–B–A form as the 3rd movement of Beethoven's symphony and also uses some figuration from it.[57]
The work was dedicated to Count Franz von Oppersdorff, a relative of Beethoven's patron, Prince Lichnowsky. The Count met Beethoven when he traveled to Lichnowsky's summer home, where Beethoven was staying. Von Oppersdorff listened to Beethoven's Symphony No. 2 in D major, and liked it so much that he offered a large amount of money for Beethoven to compose a new symphony for him. Beethoven undertook the new work during the summer of 1806 and completed it in roughly a month, while also working on the Fourth Piano Concerto and revising his opera "Fidelio", then still known as "Leonore". The dedication was made to "the Silesian nobleman Count Franz von Oppersdorff".
The songs are linked together by snippets of Beethoven's 9th Symphony (played by a symphony orchestra), whose music plays a prominent role in "A Clockwork Orange" (especially the 9th symphony). The cover features a famous painting of Beethoven by Joseph Karl Stieler. The word 'Horrorschau' is a play on the Nadsat word 'horrorshow', which comes from the Russian хорошо ("khorosho") and means 'good' or 'well'. A couple of Nadsat words are used in songs too.
Mozart's influence was apparent in the works of Beethoven even after his death. For example, Beethoven copied a passage from Mozart's 40th Symphony into the sketchbook he was using when he composed his Fifth Symphony, the third movement of which opens with a theme similar to one from the Mozart. Charles Rosen sees Mozart's C minor Piano Concerto, K. 491, as a model for Beethoven's 3rd Piano Concerto in the same key, the Quintet for Piano and Winds, K. 452, for Beethoven's quintet for the same instruments, 
Op. 16, and the A major String Quartet, K. 464, for Beethoven's A major String Quartet Op. 18 No. 5. Robert Marshall sees Mozart's Piano Sonata No. 14 in C minor, K. 457, as the model for Beethoven's "Pathétique" Sonata, Op. 13, in the same key.
Over the course of the 19th century, composers continued to add to the size of the symphonic orchestra. Around the beginning of the century, a full-scale orchestra would consist of the string section plus pairs of flutes, oboes, clarinets, bassoons, horns, trumpets, and lastly a set of timpani. This is, for instance, the scoring used in Beethoven's symphonies numbered 1, 2, 4, 7, and 8. Trombones, which had previously been confined to church and theater music, came to be added to the symphonic orchestra, notably in Beethoven's 5th, 6th, and 9th symphonies. The combination of bass drum, triangle, and cymbals (sometimes also: piccolo), which 18th century composers employed as a coloristic effect in so-called "Turkish music", came to be increasingly used during the second half of the 19th century without any such connotations of genre. By the time of Mahler (see below), it was possible for a composer to write a symphony scored for "a veritable compendium of orchestral instruments". In addition to increasing in variety of instruments, 19th century symphonies were gradually augmented with more string players and more wind parts, so that the orchestra grew substantially in sheer numbers, as concert halls likewise grew.
When Sophie, their housekeeper, suggests that Beethoven is a heavy drinker, Christoph surreptitiously follows him on one of his walks. Beethoven's mannerisms, including humming to himself (presumably composing as he walks) and dumping food on a waiter following an argument, convinces Christoph that Beethoven is a madman. Christoph complains to Kurt, who talks about the pain of Beethoven's deafness and implores Christoph to give him a chance. Kurt mentions that Beethoven is working on his Ninth Symphony, which Christoph hopes will be his last.
Beethoven had a reputation for composing the music that he wanted to hear, and was not much concerned with the instruments' limitations in his writing. This can be seen in his writing for the timpani. In his Symphony No. 7, he requires the timpanist to tune the drums for the first time ever in a symphonic work to an interval larger than a fifth. In the third movement of this symphony, Beethoven has the timpanist tune the drums to a minor sixth of F and A. He continued to expand the range of the timpani when writing his 8th symphony. In the final "Allegro vivace" movement, Beethoven writes for the timpani to play octave F's, something that had not been required of a timpanist in a symphonic movement until this time. In his Symphony No. 9, Beethoven presents some of the most advanced timpani writing to be seen by any composer yet. In the second movement of the piece, he again writes for the timpani to be tuned to octave F's, but also writes numerous loud solo passages throughout the movement for the timpani to play. The third movement of this same symphony also presents a new challenge for timpanists, as Beethoven requires that two drums be played at the same time for the last five measures of the movement to make the sound of a double stop.
Beethoven's Second Symphony was mostly written during Beethoven's stay at Heiligenstadt in 1802, at a time when his deafness was becoming more pronounced and he began to realize that it might be incurable. The work was premiered in the Theater an der Wien in Vienna on 5 April 1803, and was conducted by the composer. During that same concert, the Third Piano Concerto and the oratorio "Christ on the Mount of Olives" were also debuted. It is one of the last works of Beethoven's so-called "early period".