Few compositions have had such a long and chaotic gestation period as that of Beethoven's 9th Symphony! As early as 1811 Beethoven made notes in his sketchbook regarding a Symphony in D minor, which would have, along with the 7th and 8th, have completed his planned trio of symphonies. Also at this time he penned ideas regarding sections of Schiller's Enlightenment poem 'An die Freude' (Ode to Joy) for use in an orchestral setting, although Beethoven had in fact considered putting the 'Ode' to music throughout his career as a composer. Further sketches for the scherzo (fugato) appeared in 1815 and 1817. Then in 1818 Beethoven developed a plan for another symphony with chorus based on religious texts which, typically, came to nothing. During 1822 considerable progress was made on the first movement, with the earlier scherzo ideas being carried through virtually unchanged. At this time there was nothing of the slow movement, but we do find sketches of the 'Ode' theme noted as being 'for the finale.' However a choral finale at this time was be no means a foregone conclusion, for Beethoven later made a memorandum regarding a possible fugal fourth movement.

The main body of composition was undertaken in 1823, with the first half of the year devoted to completion the first movement, followed by the second in August and the third in October. Considerable progress was also made on the setting of Schiller's 'Ode' although even at this stage Beethoven was still considering an purely instrumental finale. A melody in D minor was sketched that was eventually to see the light of day, slightly modified and transposed into a different key, in the finale of the quartet op.132. Beethoven eventually made a firm decision on the choral version and was completed in sketch form by the end of 1823, and written out in score during February 1824.

The premiere of the 9th Symphony was made at yet another monumental concert, at the Royal Imperial Court Theatre on May 7th, 1824. The other pieces performed were the grand overture 'Weihe des Hauses' op.124, and the Kyrie, Credo and Agnus Dei from the Missa Solemnis op.123. Although the performance was far from perfect (the performers having only two rehearsals), and as strange as the music must have sounded to the audience, the effect of the symphony was overwhelming on the audience and the applause was tumultuous. Beethoven, in his deafness oblivious to this reception, had to have his attention drawn by the alto singer Karoline Unger who pulled his sleeve and directed his gaze towards the clapping hands and waving hats. Financially the concert made a poor return for Beethoven due to the very large overheads for the performance. The gross receipts for the concert were 2,220 florins, yet once management costs, parts copying etc. were catered for, Beethoven was left with only 420 florins, with some debts still to be paid! Schindler reports that when the master received the box-office report he collapsed and had to be lifted onto a sofa.