As far as I can see it is just called "Ode to Joy" or "Hymn Ode to Joy"
Source(s):
http://beemp3.com/download.php?file=2931051&song=hymn-ode-to-joy-easter...

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Joyful, Joyful We Adore Thee
Here are the words:

Joyful, joyful, we adore Thee, God of glory, Lord of love;
Hearts unfold like flowers before Thee, opening to the sun above.
Melt the clouds of sin and sadness; drive the dark of doubt away;
Giver of immortal gladness, fill us with the light of day!

All Thy works with joy surround Thee, earth and heaven reflect Thy rays,
Stars and angels sing around Thee, center of unbroken praise.
Field and forest, vale and mountain, flowery meadow, flashing sea,
Singing bird and flowing fountain call us to rejoice in Thee.

Thou art giving and forgiving, ever blessing, ever blessed,
Wellspring of the joy of living, ocean depth of happy rest!
Thou our Father, Christ our Brother, all who live in love are Thine;
Teach us how to love each other, lift us to the joy divine.

Mortals, join the happy chorus, which the morning stars began;
Father love is reigning o’er us, brother love binds man to man.
Ever singing, march we onward, victors in the midst of strife,
Joyful music leads us Sunward in the triumph song of life.
Source(s):
The Book of Hymns and this website: http://www.cyberhymnal.org/htm/j/o/joyful.htm

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Term applied in ancient times to songs in honour of gods, heroes or notable men, and in Christian worship to strophic songs in praise of God.

The first Latin hymnals with melodies date from the 11th or 12th century, and polyphonic settings have been a regular feature of Vespers since the 15th. A group of three-part settings, probably composed for the papal court at Avignon in the late 14th century, place an ornamented form of the traditional plainchant in one voice (usually the top); this was a feature of the polyphonic hymn for the next 200 years. The style is predominantly note against note. Most of the hymns in a complete annual cycle by Dufay use chant and polyphony for alternate stanzas, as was usual in the Renaissance.

By 1500 four-part settings were normal. In Germany, a style was established which was used throughout Europe in the 16th century, with the plainchant as a cantus firmus in equal notes and the other voices weaving a contrapuntal background to it. Some hymn cycles use this style in alternation with chant. There are examples by Festa, Lassus, Victoria, Guerrero and Palestrina. Important cycles came also from Germany and France, and in England Byrd and Tallis wrote settings in the main 16th-century tradition. In the 17th century the vocal bass was doubled by the organ, and various combinations of voices (including solo) and instruments were used. Hymn cycles continued to be written but the tendency was to compose isolated settings independent of chant. 18th-century hymn composers include Padre Martini in Italy, and Fux and Wagenseil in Vienna, but most 18th- and 19th-century settings were occasional works for local use.

The vernacular hymn began with the Reformation and has been a constant part of Lutheran worship (see Chorale). The English Reformation however moved towards Calvinism, leading to opposition to the hymn in the liturgy, and for two centuries English parish church music was essentially the metrical psalm. In the 18th century non-conformists such as John Wesley promoted hymns to a central place in their worship, thereby attracting numerous converts. The established church responded in the 19th century, commissioning new hymns and requiring parishes to provide congregational hymnbooks; this reached a climax with Hymns Ancient and Modern (1861), which popularized a new, Victorian type of hymn tune which is still the norm, despite the varied contents of The English Hymnal (1906) and the more inter-denominational Songs of Praise (1928).

The main American contributions to hymnody have been the gospel hymn of the 19th century revivalist movement, culminating in the works of Moody and Sankey, and the Spiritual.

Hymn
by Edgar Allan Poe

At morn- at noon- at twilight dim-
Maria! thou hast heard my hymn!
In joy and woe- in good and ill-
Mother of God, be with me still!
When the hours flew brightly by,
And not a cloud obscured the sky,
My soul, lest it should truant be,
Thy grace did guide to thine and thee;
Now, when storms of Fate o'ercast
Darkly my Present and my Past,
Let my Future radiant shine
With sweet hopes of thee and thine!

Hymn

1.
Joyful, joyful, we adore Thee, God of glory, Lord of love;
Hearts unfold like flowers before Thee, opening to the sun above.
Melt the clouds of sin and sadness; drive the dark of doubt away;
Giver of immortal gladness, fill us with the light of day!

2.
All Thy works with joy surround Thee, earth and heaven reflect Thy rays,
Stars and angels sing around Thee, center of unbroken praise.
Field and forest, vale and mountain, flowery meadow, flashing sea,
Singing bird and flowing fountain call us to rejoice in Thee.

3.
Thou art giving and forgiving, ever blessing, ever blessed,
Wellspring of the joy of living, ocean depth of happy rest!
Thou our Father, Christ our Brother, all who live in love are Thine;
Teach us how to love each other, lift us to the joy divine.

4.
Mortals, join the happy chorus, which the morning stars began;
Father love is reigning o’er us, brother love binds man to man.
Ever singing, march we onward, victors in the midst of strife,
Joyful music leads us Sunward in the triumph song of life.
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It is "Joyful, Joyful, We Adore Thee" by Henry J. van Dyke. It was first published in the Pres­by­ter­i­an Hymn­al in 1911.
Source(s):
http://www.cyberhymnal.org/htm/j/o/joyful.htm

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Beethoven's symphony number 9.
Source(s):
mahalo->wikipedia

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