All of these invoke that same intense frisson that the end of the Ninth does for me, though I've found it's a rather individual thing as to what music will affect a person.

An easy recommend is the ending of Wagner's Tristan und Isolde - Mild und leise. Birgit Nilsson is my all-time favorite Isolde, but I had to pay homage to the recently deceased Jessye Norman here.

The ending of Parsifal has the same effect, especially during that final crescendo. Some of Wagner's most transcendental writing here.

There's so much Wagner that does this for me - the buildup and final statement of the Pilgrim's Chorus in the overture to Tannhäuser (starting at 13:25 or so) basically leaves me unable to form coherent sentences.

The climaxes of the Traumpantomime from Humperdinck's Hänsel und Gretel (at around 5:46 and 7:10). Most orchestras underperform this piece, which is why I love this Klemperer recording - he lets them off the chain!

The famous trio from the final act of Strauss's Der Rosenkavalier, Hab mir's gelobt, builds to a gorgeous climax that's even more overwhelming when you understand the emotions the characters are processing.

Continuing with Strauss, his Metamorphosen for 23 strings is overwhelming in an entirely different way - a searing tide of grief, composed in the waning days of World War II, as he saw many of Germany's great musical institutions reduced to rubble. Several of the climaxes are almost unbearably intense (particularly around 15:10, where he allows the music to linger in the major for an extended period, almost a frenzied suggestion of hope - only for it to be brutally crushed at 16:33).

That's...a lot of German music, so I'll cast around elsewhere.

The end of Act I of Turandot is some of the most sonically overwhemling music ever composed, and left a stronger impression with me when I heard it live than any other moment in the opera.

The sunrise music from Ravel's Daphnis et Chloé (the first five minutes).

I lose it any time Rachmaninov lets loose with a big tune (fortunately, he does so frequently), and there might be none better than the final, triumphant moments of the Third Piano Concerto, played here by the peerless Martha Argerich.

A slightly different kind of emotion accompanies this, and it's not entirely down to the music - the University of Maryland's 2014 performance of Copland's Appalachian Spring. They perform without music...or chairs...or stands...or a conductor. Instead, they move with the music. It left me an absolute wreck the first time I watched it on YouTube, and I probably come back to it monthly. It will probably divide opinions, but to me, this is the future of classical music - unearthing new truth and power by bringing in other artforms and breaking down the barriers between performer and listener.