92, is a symphony in four movements composed by Ludwig van Beethoven between 1811 and 1812, while improving his health in the Bohemian spa town of Teplitz.

[3] The work was premiered with Beethoven himself conducting in Vienna on 8 December 1813 at a charity concert for soldiers wounded in the Battle of Hanau.

In Beethoven's address to the participants, the motives are not openly named: "We are moved by nothing but pure patriotism and the joyful sacrifice of our powers for those who have sacrificed so much for us.

The orchestra was led by Beethoven's friend Ignaz Schuppanzigh and included some of the finest musicians of the day: violinist Louis Spohr,[5] composers Johann Nepomuk Hummel, Giacomo Meyerbeer and Antonio Salieri.

[9] The symphony is scored for two flutes, two oboes, two clarinets in A, two bassoons, two horns in A (E and D in the inner movements), two trumpets in D, timpani, and strings.

= 104) is in sonata form, and is dominated by lively dance-like dotted rhythms, sudden dynamic changes, and abrupt modulations.

The coda contains a famous twenty-bar passage consisting of a two-bar motif repeated ten times to the background of a grinding four octave deep pedal point of an E. A typical performance of this movement lasts approximately 10–16 minutes.

After this, the music changes from A minor to A major as the clarinets take a calmer melody to the background of light triplets played by the violins.

This section ends thirty-seven bars later with a quick descent of the strings on an A minor scale, and the first melody is resumed and elaborated upon in a strict fugato.

In his book Beethoven and his Nine Symphonies, Sir George Grove wrote, "The force that reigns throughout this movement is literally prodigious, and reminds one of Carlyle's hero Ram Dass, who has 'fire enough in his belly to burn up the entire world.'"

The main theme is a precise duple time variant of the instrumental ritornello in Beethoven's own arrangement of the Irish folk-song "Save me from the grave and wise", No.

For instance, one program-note author writes: … the final movement zips along at an irrepressible pace that threatens to sweep the entire orchestra off its feet and around the theater, caught up in the sheer joy of performing one of the most perfect symphonies ever written.

[16]Another admirer, composer Richard Wagner, referring to the lively rhythms which permeate the work, called it the "apotheosis of the dance".

Friedrich Wieck, who was present during rehearsals, said that the consensus, among musicians and laymen alike, was that Beethoven must have composed the symphony in a drunken state;[17] and the conductor Thomas Beecham commented on the third movement: "What can you do with it?