Instruct: Given a question, retrieve documents that answer the question.
Query: When did Beethoven's 9th Symphony premier?
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]
Pandora’s Beethoven-Box (2001) for orchestra, dur. 10 min.
Commissioned by the Phoenix Symphony for its 2002 Beethoven Festival
Premiered January 31, 2002 in Symphony Hall, Phoenix, AZ.
The Phoenix Symphony, Hermann Michael, conductor.
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]
It was premiered in March 1807 at a private concert of the home of Prince Franz Joseph von Lobkowitz. The "Coriolan Overture" and the Fourth Symphony were premiered in that same concert. However, the public premiere was not until a concert on 22 December 1808 at Vienna's Theater an der Wien. Beethoven again took the stage as soloist. The marathon concert saw Beethoven's last appearance as a soloist with orchestra, as well as the premieres of the "Choral Fantasy" and the Fifth and Sixth symphonies. Beethoven dedicated the concerto to his friend, student, and patron, the Archduke Rudolph.
Although his major works had primarily been premiered in Vienna, Beethoven was keen to have his latest composition performed in Berlin as soon as possible after finishing it, as he thought that musical taste in Vienna had become dominated by Italian composers such as Rossini.[11] When his friends and financiers heard this, they urged him to premiere the symphony in Vienna in the form of a petition signed by a number of prominent Viennese music patrons and performers.[11]
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.
The symphony is scored for the following orchestra. These are by far the largest forces needed for any Beethoven symphony; at the premiere, Beethoven augmented them further by assigning two players to each wind part.[24]
The Fifth Symphony was premiered on 22 December 1808 at a mammoth concert at the Theater an der Wien in Vienna consisting entirely of Beethoven premieres, and directed by Beethoven himself on the conductor's podium. The concert lasted for more than four hours. The two symphonies appeared on the programme in reverse order: the Sixth was played first, and the Fifth appeared in the second half. The programme was as follows:
Kurt comes over to the house for another rehearsal with Beethoven, beaming that he has been selected to be part of the orchestra at the premiere of the Ninth Symphony. The singers complain about the difficulty of their parts, but Beethoven reassures them he would not have chosen them if he did not think they were capable. When he sees Christoph and his mother listening outside the door, he promises them tickets to the performance.
The Fifth Symphony had a long development process, as Beethoven worked out the musical ideas for the work. The first "sketches" (rough drafts of melodies and other musical ideas) date from 1804 following the completion of the Third Symphony. However, Beethoven repeatedly interrupted his work on the Fifth to prepare other compositions, including the first version of "Fidelio", the "Appassionata" piano sonata, the three "Razumovsky" string quartets, the Violin Concerto, the Fourth Piano Concerto, the Fourth Symphony, and the Mass in C. The final preparation of the Fifth Symphony, which took place in 1807–1808, was carried out in parallel with the Sixth Symphony, which premiered at the same concert.
The Beethovenfest (Beethoven Festival) started on Sunday 10 August 1845. Louis Spohr, who had known Beethoven, conducted the "Missa solemnis" and the 9th Symphony that evening. 
But Cooper is best known for his books on Beethoven, as well as a completion and realization of Beethoven's fragmentary Symphony No. 10. Having extensively studied Beethoven's sketchbooks and written a book about them, "Beethoven and the Creative Process", Cooper felt confident enough to identify the sketches for the individual movements of the Symphony and put together those for the first movement into a musically satisfactory whole. The realisation was recorded by the London Symphony Orchestra conducted by Wyn Morris. It was then revised and received its public premiere in 1988 by the Royal Liverpool Philharmonic Orchestra, conducted by Walter Weller. In a way, this fulfilled Beethoven's promise of his Symphony No. 10 to the Royal Philharmonic Society, since the premiere was at a concert given by this society. Several recordings are available.
The first sketches of the "Pastoral Symphony" appeared in 1802. It was composed simultaneously with Beethoven's more famous—and more fiery—Fifth Symphony. Both symphonies were premiered in a long and under-rehearsed concert in the Theater an der Wien in Vienna on 22 December 1808.
When evaluating the relationship between Schumann's Third Symphony and Beethoven's Third Symphony, there is the obvious connection between the tonal centers of each piece – they share the same tonality. The relationship between Schumann's Third Symphony and Beethoven's Third Symphony is mostly evident in the first movement. Although as was mentioned earlier, the key of E-flat major is known to have religious associations, this tonality is also generally perceived as heroic due to Beethoven's Third Symphony "Eroica". Schumann begins his first movement with a theme in the same key as Beethoven's "Eroica" Symphony. This main theme feels so typically heroic and triumphant that it could easily be mistaken as material for a triumphant finale movement. This is due to the manner in which he repeats this melody, each time with more proud and triumphant treatments. The main model for the Rhenish Symphony is Beethoven's Sixth Symphony, the "Pastorale". One of the most obvious relationships is that there are five movements in each of the symphonies. The next most obvious similarity between Beethoven's Sixth Symphony and Schumann's Third Symphony is that in both symphonies, the fourth and the fifth movements are played without break. Aside from the similarities in the large scale layout of each work, the musical similarity can be seen in the second movement. 
Sedlatzek's early years in Vienna culminated in the premier of Beethoven's 9th Symphony on 7 May 1824 at Karntnertortheater, where Sedlatzek served as principal flautist. Certain passages of Beethoven's score required the use of the particular Viennese flute which Sedlatzek was known to play with exceptional virtuosity. Only the Viennese flute was capable of playing as low as G, which was required for the proper interpretation of Beethoven's symphony.
In 1971 the Parliamentary Assembly of the Council of Europe decided to propose adopting the prelude to the "Ode to Joy" from Beethoven's 9th Symphony as the European anthem, taking up a suggestion made by Richard von Coudenhove-Kalergi in 1955. Beethoven was generally seen as the natural choice for a European anthem. The Committee of Ministers of the Council of Europe officially announced the European Anthem on 19 January 1972 at Strasbourg: the prelude to "Ode to Joy", 4th movement of Ludwig van Beethoven's 9th symphony. In 1974 the same piece of music was adopted as the national anthem of the unrecognized state of Rhodesia.
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.
He also continued another trend—towards larger orchestras—that moved the centre of the sound downwards in the orchestra, to the violas and the lower register of the violins and cellos, giving his music a heavier and darker feel than Haydn or Mozart. Gustav Mahler modified the orchestration of some of Beethoven's music—most notably the 3rd and 9th symphonies—with the idea of more accurately expressing Beethoven's intent in an orchestra that had grown so much larger than the one Beethoven used: for example, doubling woodwind parts to compensate for the fact that a modern orchestra has so many more strings than Beethoven's orchestra did. Needless to say, these efforts remain controversial.
Pierre Boulez has said that Strauss the conductor was "a complete master of his trade". Music critic Harold C. Schonberg writes that, while Strauss was a very fine conductor, he often put scant effort into his recordings. Schonberg focused primarily on Strauss's recordings of Mozart's Symphony No. 40 and Beethoven's Symphony No. 7, as well as noting that Strauss played a breakneck version of Beethoven's 9th Symphony in about 45 minutes. Concerning Beethoven's 7th Symphony, Schonberg wrote, "There is almost never a "ritard" or a change in expression or nuance. The slow movement is almost as fast as the following "vivace"; and the last movement, with a big cut in it, is finished in 4 minutes, 25 seconds. (It should run between 7 and 8 minutes.)" He also complained that the Mozart symphony had "no force, no charm, no inflection, with a metronomic rigidity."
He sang in the Australian premiere of Shostakovich's 13th Symphony in 2008. His other concert repertoire includes Beethoven's 9th Symphony, Elgar's "The Dream of Gerontius", Mendelssohn's "Elijah", Verdi's "Requiem" and Handel's "Messiah".
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.
The stylistic links of the work with Beethoven before (and Wagner after) could not be stronger. From Beethoven, Berlioz learned the very notion of programmatic music. He saw in the Pastoral symphony how music might be depictive without being naïve, in the symphonic scherzi how the delicate "Queen Mab" might best be evoked, and in the 9th symphony how effective a choral finale could be. He sensed Beethoven's flexibility with regard to number of movements and the performing force.
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.
The value and importance of Brahms's achievements were recognized by Vienna's most powerful critic, the staunchly conservative Eduard Hanslick. The conductor Hans von Bülow was moved in 1877 to call the symphony "Beethoven's Tenth", due to perceived similarities between the work and various compositions of Beethoven. It is often remarked that there is a strong resemblance between the main theme of the finale of Brahms's First Symphony and the main theme of the finale of Beethoven's Ninth Symphony. Also, Brahms uses the rhythm of the "fate" motto from the opening of Beethoven's Fifth Symphony. This rather annoyed Brahms; he felt that this amounted to accusations of plagiarism, whereas he saw his use of Beethoven's idiom in this symphony as an act of conscious homage. Brahms himself said, when comment was made on the similarity with Beethoven, "any ass can see that". Nevertheless, this work is still sometimes (though rarely) referred to as "Beethoven's Tenth".
The premiere took place on 27 February 1814, at a concert in the Redoutensaal, Vienna, at which the Seventh Symphony (which had been premiered two months earlier) was also played. Beethoven was growing increasingly deaf at the time, but nevertheless led the premiere. Reportedly, "the orchestra largely ignored his ungainly gestures and followed the principal violinist instead."