This is a list of compositions by Mario Castelnuovo-Tedesco.

Samuel Osmond Barber II (March 9, 1910 – January 23, 1981) was an American composer, pianist, conductor, baritone, and music educator, and one of the most celebrated composers of the mid-20th century. Principally influenced by nine years' composition studies with Rosario Scalero at the Curtis Institute and more than 25 years' study with his uncle, the composer Sidney Homer, Barber's music usually eschewed the experimental trends of musical modernism in favor of traditional 19th-century harmonic language and formal structure embracing lyricism and emotional expression. However, he adopted elements of modernism after 1940 in some of his compositions, such as an increased use of dissonance and chromaticism in the Cello Concerto (1945) and Medea's Dance of Vengeance (1955); and the use of tonal ambiguity and a narrow use of serialism in his Piano Sonata (1949), Prayers of Kierkegaard (1954), and Nocturne (1959). Barber was adept at both instrumental and vocal music. His works became successful on the international stage and many of his compositions enjoyed rapid adoption into the classical performance canon. In particular, his Adagio for Strings (1936) has earned a permanent place in the orchestral concert repertory, as so has that work's adaptation for chorus, Agnus Dei (1967). He received the Pulitzer Prize for Music twice: for his opera Vanessa (1956–1957), and for the Concerto for Piano and Orchestra (1962). Also widely performed is his Knoxville: Summer of 1915 (1947), a setting for soprano and orchestra of a prose text by James Agee. At the time of Barber's death, nearly all of his compositions had been recorded. Many of his compositions were commissioned or first performed by such noted groups and artists as the Boston Symphony Orchestra, the Philadelphia Orchestra, the New York Philharmonic, the Metropolitan Opera, Vladimir Horowitz, Eleanor Steber, Raya Garbousova, John Browning, Leontyne Price, Pierre Bernac, Francis Poulenc, and Dietrich Fischer-Dieskau. While Barber composed a significant body of purely instrumental music, two-thirds of his compositional output were art songs for voice and piano, choral music, and songs for voice and orchestra. Some of his most frequently performed songs include both the solo voice and choral versions of Sure on this shining night (solo version from 1938 and choral version from 1961) with text by Agee, and the song cycle Hermit Songs (1953), with anonymous texts by Irish monks from the eighth through thirteenth centuries. This emphasis on sung material was rooted in his own brief career as a professional baritone in his 20s which inspired a lifelong love of vocal music. In 1935, Barber recorded his own setting of Arnold's "Dover Beach" for NBC, singing the vocal part accompanied by string quartet, and he was also featured weekly on NBC Radio in 1935–1936 performing German lieder and art songs. He also occasionally conducted performances and recordings of his works with symphony orchestras during the 1950s, and taught composition at the Curtis Institute from 1939 to 1942. Barber was in a relationship with the composer Gian Carlo Menotti for more than 40 years. They lived at Capricorn, a house just north of New York City, where they frequently hosted parties with academic and music luminaries. Menotti was Barber's librettist for two of his three operas. When the relationship ended in 1970, they remained close friends until Barber's death from cancer in 1981.

Samuel Osmond Barber II (March 9, 1910 – January 23, 1981) was an American composer, pianist, conductor, baritone, and music educator, and one of the most celebrated composers of the mid-20th century. Principally influenced by nine years' composition studies with Rosario Scalero at the Curtis Institute and more than 25 years' study with his uncle, the composer Sidney Homer, Barber's music usually eschewed the experimental trends of musical modernism in favor of traditional 19th-century harmonic language and formal structure embracing lyricism and emotional expression. However, he adopted elements of modernism after 1940 in some of his compositions, such as an increased use of dissonance and chromaticism in the Cello Concerto (1945) and Medea's Dance of Vengeance (1955); and the use of tonal ambiguity and a narrow use of serialism in his Piano Sonata (1949), Prayers of Kierkegaard (1954), and Nocturne (1959). Barber was adept at both instrumental and vocal music. His works became successful on the international stage and many of his compositions enjoyed rapid adoption into the classical performance canon. In particular, his Adagio for Strings (1936) has earned a permanent place in the orchestral concert repertory, as so has that work's adaptation for chorus, Agnus Dei (1967). He received the Pulitzer Prize for Music twice: for his opera Vanessa (1956–1957), and for the Concerto for Piano and Orchestra (1962). Also widely performed is his Knoxville: Summer of 1915 (1947), a setting for soprano and orchestra of a prose text by James Agee. At the time of Barber's death, nearly all of his compositions had been recorded. Many of his compositions were commissioned or first performed by such noted groups and artists as the Boston Symphony Orchestra, the Philadelphia Orchestra, the New York Philharmonic, the Metropolitan Opera, Vladimir Horowitz, Eleanor Steber, Raya Garbousova, John Browning, Leontyne Price, Pierre Bernac, Francis Poulenc, and Dietrich Fischer-Dieskau. While Barber composed a significant body of purely instrumental music, two-thirds of his compositional output were art songs for voice and piano, choral music, and songs for voice and orchestra. Some of his most frequently performed songs include both the solo voice and choral versions of Sure on this shining night (solo version from 1938 and choral version from 1961) with text by Agee, and the song cycle Hermit Songs (1953), with anonymous texts by Irish monks from the eighth through thirteenth centuries. This emphasis on sung material was rooted in his own brief career as a professional baritone in his 20s which inspired a lifelong love of vocal music. In 1935, Barber recorded his own setting of Arnold's "Dover Beach" for NBC, singing the vocal part accompanied by string quartet, and he was also featured weekly on NBC Radio in 1935–1936 performing German lieder and art songs. He also occasionally conducted performances and recordings of his works with symphony orchestras during the 1950s, and taught composition at the Curtis Institute from 1939 to 1942. Barber was in a relationship with the composer Gian Carlo Menotti for more than 40 years. They lived at Capricorn, a house just north of New York City, where they frequently hosted parties with academic and music luminaries. Menotti was Barber's librettist for two of his three operas. When the relationship ended in 1970, they remained close friends until Barber's death from cancer in 1981.

Samuel Osmond Barber II (March 9, 1910 – January 23, 1981) was an American composer, pianist, conductor, baritone, and music educator, and one of the most celebrated composers of the mid-20th century. Principally influenced by nine years' composition studies with Rosario Scalero at the Curtis Institute and more than 25 years' study with his uncle, the composer Sidney Homer, Barber's music usually eschewed the experimental trends of musical modernism in favor of traditional 19th-century harmonic language and formal structure embracing lyricism and emotional expression. However, he adopted elements of modernism after 1940 in some of his compositions, such as an increased use of dissonance and chromaticism in the Cello Concerto (1945) and Medea's Dance of Vengeance (1955); and the use of tonal ambiguity and a narrow use of serialism in his Piano Sonata (1949), Prayers of Kierkegaard (1954), and Nocturne (1959). Barber was adept at both instrumental and vocal music. His works became successful on the international stage and many of his compositions enjoyed rapid adoption into the classical performance canon. In particular, his Adagio for Strings (1936) has earned a permanent place in the orchestral concert repertory, as so has that work's adaptation for chorus, Agnus Dei (1967). He received the Pulitzer Prize for Music twice: for his opera Vanessa (1956–1957), and for the Concerto for Piano and Orchestra (1962). Also widely performed is his Knoxville: Summer of 1915 (1947), a setting for soprano and orchestra of a prose text by James Agee. At the time of Barber's death, nearly all of his compositions had been recorded. Many of his compositions were commissioned or first performed by such noted groups and artists as the Boston Symphony Orchestra, the Philadelphia Orchestra, the New York Philharmonic, the Metropolitan Opera, Vladimir Horowitz, Eleanor Steber, Raya Garbousova, John Browning, Leontyne Price, Pierre Bernac, Francis Poulenc, and Dietrich Fischer-Dieskau. While Barber composed a significant body of purely instrumental music, two-thirds of his compositional output were art songs for voice and piano, choral music, and songs for voice and orchestra. Some of his most frequently performed songs include both the solo voice and choral versions of Sure on this shining night (solo version from 1938 and choral version from 1961) with text by Agee, and the song cycle Hermit Songs (1953), with anonymous texts by Irish monks from the eighth through thirteenth centuries. This emphasis on sung material was rooted in his own brief career as a professional baritone in his 20s which inspired a lifelong love of vocal music. In 1935, Barber recorded his own setting of Arnold's "Dover Beach" for NBC, singing the vocal part accompanied by string quartet, and he was also featured weekly on NBC Radio in 1935–1936 performing German lieder and art songs. He also occasionally conducted performances and recordings of his works with symphony orchestras during the 1950s, and taught composition at the Curtis Institute from 1939 to 1942. Barber was in a relationship with the composer Gian Carlo Menotti for more than 40 years. They lived at Capricorn, a house just north of New York City, where they frequently hosted parties with academic and music luminaries. Menotti was Barber's librettist for two of his three operas. When the relationship ended in 1970, they remained close friends until Barber's death from cancer in 1981.

Samuel Osmond Barber II (March 9, 1910 – January 23, 1981) was an American composer, pianist, conductor, baritone, and music educator, and one of the most celebrated composers of the mid-20th century. Principally influenced by nine years' composition studies with Rosario Scalero at the Curtis Institute and more than 25 years' study with his uncle, the composer Sidney Homer, Barber's music usually eschewed the experimental trends of musical modernism in favor of traditional 19th-century harmonic language and formal structure embracing lyricism and emotional expression. However, he adopted elements of modernism after 1940 in some of his compositions, such as an increased use of dissonance and chromaticism in the Cello Concerto (1945) and Medea's Dance of Vengeance (1955); and the use of tonal ambiguity and a narrow use of serialism in his Piano Sonata (1949), Prayers of Kierkegaard (1954), and Nocturne (1959). Barber was adept at both instrumental and vocal music. His works became successful on the international stage and many of his compositions enjoyed rapid adoption into the classical performance canon. In particular, his Adagio for Strings (1936) has earned a permanent place in the orchestral concert repertory, as so has that work's adaptation for chorus, Agnus Dei (1967). He received the Pulitzer Prize for Music twice: for his opera Vanessa (1956–1957), and for the Concerto for Piano and Orchestra (1962). Also widely performed is his Knoxville: Summer of 1915 (1947), a setting for soprano and orchestra of a prose text by James Agee. At the time of Barber's death, nearly all of his compositions had been recorded. Many of his compositions were commissioned or first performed by such noted groups and artists as the Boston Symphony Orchestra, the Philadelphia Orchestra, the New York Philharmonic, the Metropolitan Opera, Vladimir Horowitz, Eleanor Steber, Raya Garbousova, John Browning, Leontyne Price, Pierre Bernac, Francis Poulenc, and Dietrich Fischer-Dieskau. While Barber composed a significant body of purely instrumental music, two-thirds of his compositional output were art songs for voice and piano, choral music, and songs for voice and orchestra. Some of his most frequently performed songs include both the solo voice and choral versions of Sure on this shining night (solo version from 1938 and choral version from 1961) with text by Agee, and the song cycle Hermit Songs (1953), with anonymous texts by Irish monks from the eighth through thirteenth centuries. This emphasis on sung material was rooted in his own brief career as a professional baritone in his 20s which inspired a lifelong love of vocal music. In 1935, Barber recorded his own setting of Arnold's "Dover Beach" for NBC, singing the vocal part accompanied by string quartet, and he was also featured weekly on NBC Radio in 1935–1936 performing German lieder and art songs. He also occasionally conducted performances and recordings of his works with symphony orchestras during the 1950s, and taught composition at the Curtis Institute from 1939 to 1942. Barber was in a relationship with the composer Gian Carlo Menotti for more than 40 years. They lived at Capricorn, a house just north of New York City, where they frequently hosted parties with academic and music luminaries. Menotti was Barber's librettist for two of his three operas. When the relationship ended in 1970, they remained close friends until Barber's death from cancer in 1981.

This is a list of compositions by Mario Castelnuovo-Tedesco.

Samuel Osmond Barber II (March 9, 1910 – January 23, 1981) was an American composer, pianist, conductor, baritone, and music educator, and one of the most celebrated composers of the mid-20th century. Principally influenced by nine years' composition studies with Rosario Scalero at the Curtis Institute and more than 25 years' study with his uncle, the composer Sidney Homer, Barber's music usually eschewed the experimental trends of musical modernism in favor of traditional 19th-century harmonic language and formal structure embracing lyricism and emotional expression. However, he adopted elements of modernism after 1940 in some of his compositions, such as an increased use of dissonance and chromaticism in the Cello Concerto (1945) and Medea's Dance of Vengeance (1955); and the use of tonal ambiguity and a narrow use of serialism in his Piano Sonata (1949), Prayers of Kierkegaard (1954), and Nocturne (1959). Barber was adept at both instrumental and vocal music. His works became successful on the international stage and many of his compositions enjoyed rapid adoption into the classical performance canon. In particular, his Adagio for Strings (1936) has earned a permanent place in the orchestral concert repertory, as so has that work's adaptation for chorus, Agnus Dei (1967). He received the Pulitzer Prize for Music twice: for his opera Vanessa (1956–1957), and for the Concerto for Piano and Orchestra (1962). Also widely performed is his Knoxville: Summer of 1915 (1947), a setting for soprano and orchestra of a prose text by James Agee. At the time of Barber's death, nearly all of his compositions had been recorded. Many of his compositions were commissioned or first performed by such noted groups and artists as the Boston Symphony Orchestra, the Philadelphia Orchestra, the New York Philharmonic, the Metropolitan Opera, Vladimir Horowitz, Eleanor Steber, Raya Garbousova, John Browning, Leontyne Price, Pierre Bernac, Francis Poulenc, and Dietrich Fischer-Dieskau. While Barber composed a significant body of purely instrumental music, two-thirds of his compositional output were art songs for voice and piano, choral music, and songs for voice and orchestra. Some of his most frequently performed songs include both the solo voice and choral versions of Sure on this shining night (solo version from 1938 and choral version from 1961) with text by Agee, and the song cycle Hermit Songs (1953), with anonymous texts by Irish monks from the eighth through thirteenth centuries. This emphasis on sung material was rooted in his own brief career as a professional baritone in his 20s which inspired a lifelong love of vocal music. In 1935, Barber recorded his own setting of Arnold's "Dover Beach" for NBC, singing the vocal part accompanied by string quartet, and he was also featured weekly on NBC Radio in 1935–1936 performing German lieder and art songs. He also occasionally conducted performances and recordings of his works with symphony orchestras during the 1950s, and taught composition at the Curtis Institute from 1939 to 1942. Barber was in a relationship with the composer Gian Carlo Menotti for more than 40 years. They lived at Capricorn, a house just north of New York City, where they frequently hosted parties with academic and music luminaries. Menotti was Barber's librettist for two of his three operas. When the relationship ended in 1970, they remained close friends until Barber's death from cancer in 1981.

This is a list of compositions by Samuel Barber sorted by genre, opus number, date of composition, and title.

This is a list of compositions by Samuel Barber sorted by genre, opus number, date of composition, and title.

This is a list of notable events in music that took place in the year 1964.

A discography of albums released by ECM. Distributor catalogue numbers are not provided here.

The String Quartet in B minor, Op. 11, was composed in 1935–36 by Samuel Barber. He arranged the middle movement for string orchestra as his well-known Adagio for Strings in 1936. Barber continued to revise the piece, particularly the finale, until 1943. The string quartet has three movements: Begun while living in Austria with his partner Gian Carlo Menotti after Barber's Rome Prize, the composer intended that the quartet be premiered by the Curtis String Quartet, but did not finish the piece in time for their concert tour. On September 19, 1936, Barber wrote their cellist Orlando Cole: "I have just finished the slow movement of my quartet today—it is a knockout! Now for a Finale." Having completed a finale, the string quartet was premiered in its provisional form by the Pro Arte Quartet on December 14, 1936, at the Villa Aurelia in Rome. Afterwards, Barber withdrew the finale so as to rewrite it, which he did by April 1937. He rewrote it again before it was published. The final form was premiered by the Budapest Quartet on May 28, 1943, at the Library of Congress in Washington, D.C. The opening movement is in sonata form, the second movement a famous adagio, and the final version of the finale, added to the second movement attacca, is shortened, lasting two minutes, and revisits themes from the opening movement, thereby creating a cyclic form for the quartet. The opening movement has three theme areas, the first a dramatic motif stated in unison by all four instruments, the second slinky chorale like music, and the third a yearning lyrical melody. The quartet as a whole is in the key of B minor, but the central movement is in B♭ minor. The materials of the second movement consist of "a very slow and extended melody built from stepwise intervals, slightly varied in its numerous repetitions, uncoiling over (or in the midst of) sustained chords that change with note-by-note reluctance, all of it building into a powerful climax at the high end of the instruments' range and then quickly receding to the contemplative quietude that ultimately defines this musical expanse." Barber accepted a commission for a second string quartet in 1947, but never got past a few pages of sketches.

This is a list of compositions by Samuel Barber sorted by genre, opus number, date of composition, and title.

Samuel Osmond Barber II (March 9, 1910 – January 23, 1981) was an American composer, pianist, conductor, baritone, and music educator, and one of the most celebrated composers of the mid-20th century. Principally influenced by nine years' composition studies with Rosario Scalero at the Curtis Institute and more than 25 years' study with his uncle, the composer Sidney Homer, Barber's music usually eschewed the experimental trends of musical modernism in favor of traditional 19th-century harmonic language and formal structure embracing lyricism and emotional expression. However, he adopted elements of modernism after 1940 in some of his compositions, such as an increased use of dissonance and chromaticism in the Cello Concerto (1945) and Medea's Dance of Vengeance (1955); and the use of tonal ambiguity and a narrow use of serialism in his Piano Sonata (1949), Prayers of Kierkegaard (1954), and Nocturne (1959). Barber was adept at both instrumental and vocal music. His works became successful on the international stage and many of his compositions enjoyed rapid adoption into the classical performance canon. In particular, his Adagio for Strings (1936) has earned a permanent place in the orchestral concert repertory, as so has that work's adaptation for chorus, Agnus Dei (1967). He received the Pulitzer Prize for Music twice: for his opera Vanessa (1956–1957), and for the Concerto for Piano and Orchestra (1962). Also widely performed is his Knoxville: Summer of 1915 (1947), a setting for soprano and orchestra of a prose text by James Agee. At the time of Barber's death, nearly all of his compositions had been recorded. Many of his compositions were commissioned or first performed by such noted groups and artists as the Boston Symphony Orchestra, the Philadelphia Orchestra, the New York Philharmonic, the Metropolitan Opera, Vladimir Horowitz, Eleanor Steber, Raya Garbousova, John Browning, Leontyne Price, Pierre Bernac, Francis Poulenc, and Dietrich Fischer-Dieskau. While Barber composed a significant body of purely instrumental music, two-thirds of his compositional output were art songs for voice and piano, choral music, and songs for voice and orchestra. Some of his most frequently performed songs include both the solo voice and choral versions of Sure on this shining night (solo version from 1938 and choral version from 1961) with text by Agee, and the song cycle Hermit Songs (1953), with anonymous texts by Irish monks from the eighth through thirteenth centuries. This emphasis on sung material was rooted in his own brief career as a professional baritone in his 20s which inspired a lifelong love of vocal music. In 1935, Barber recorded his own setting of Arnold's "Dover Beach" for NBC, singing the vocal part accompanied by string quartet, and he was also featured weekly on NBC Radio in 1935–1936 performing German lieder and art songs. He also occasionally conducted performances and recordings of his works with symphony orchestras during the 1950s, and taught composition at the Curtis Institute from 1939 to 1942. Barber was in a relationship with the composer Gian Carlo Menotti for more than 40 years. They lived at Capricorn, a house just north of New York City, where they frequently hosted parties with academic and music luminaries. Menotti was Barber's librettist for two of his three operas. When the relationship ended in 1970, they remained close friends until Barber's death from cancer in 1981.

The Mummy is a 2017 American action adventure film co-produced and directed by Alex Kurtzman from a screenplay written by David Koepp, Christopher McQuarrie, and Dylan Kussman based on a story by Kurtzman, Jon Spaihts, and Jenny Lumet. A reboot of the Mummy franchise, it stars Tom Cruise as U.S. Army Sergeant Nick Morton, a soldier of fortune who accidentally unearths the ancient tomb of entrapped Egyptian princess Ahmanet (Sofia Boutella). Annabelle Wallis, Jake Johnson, Courtney B. Vance, and Russell Crowe also star. The Mummy premiered at the State Theatre in Sydney, Australia on May 22, 2017, and was theatrically released in the United States on June 9, 2017. It received generally negative reviews from critics and grossed $410 million worldwide, losing $60–95 million due to high production and marketing costs. Intended to kick-start the Dark Universe, a shared universe based on the classic Universal Monsters film series, the film's poor box office performance led to the cancellation of the shared universe.

Samuel Osmond Barber II (March 9, 1910 – January 23, 1981) was an American composer, pianist, conductor, baritone, and music educator, and one of the most celebrated composers of the mid-20th century. Principally influenced by nine years' composition studies with Rosario Scalero at the Curtis Institute and more than 25 years' study with his uncle, the composer Sidney Homer, Barber's music usually eschewed the experimental trends of musical modernism in favor of traditional 19th-century harmonic language and formal structure embracing lyricism and emotional expression. However, he adopted elements of modernism after 1940 in some of his compositions, such as an increased use of dissonance and chromaticism in the Cello Concerto (1945) and Medea's Dance of Vengeance (1955); and the use of tonal ambiguity and a narrow use of serialism in his Piano Sonata (1949), Prayers of Kierkegaard (1954), and Nocturne (1959). Barber was adept at both instrumental and vocal music. His works became successful on the international stage and many of his compositions enjoyed rapid adoption into the classical performance canon. In particular, his Adagio for Strings (1936) has earned a permanent place in the orchestral concert repertory, as so has that work's adaptation for chorus, Agnus Dei (1967). He received the Pulitzer Prize for Music twice: for his opera Vanessa (1956–1957), and for the Concerto for Piano and Orchestra (1962). Also widely performed is his Knoxville: Summer of 1915 (1947), a setting for soprano and orchestra of a prose text by James Agee. At the time of Barber's death, nearly all of his compositions had been recorded. Many of his compositions were commissioned or first performed by such noted groups and artists as the Boston Symphony Orchestra, the Philadelphia Orchestra, the New York Philharmonic, the Metropolitan Opera, Vladimir Horowitz, Eleanor Steber, Raya Garbousova, John Browning, Leontyne Price, Pierre Bernac, Francis Poulenc, and Dietrich Fischer-Dieskau. While Barber composed a significant body of purely instrumental music, two-thirds of his compositional output were art songs for voice and piano, choral music, and songs for voice and orchestra. Some of his most frequently performed songs include both the solo voice and choral versions of Sure on this shining night (solo version from 1938 and choral version from 1961) with text by Agee, and the song cycle Hermit Songs (1953), with anonymous texts by Irish monks from the eighth through thirteenth centuries. This emphasis on sung material was rooted in his own brief career as a professional baritone in his 20s which inspired a lifelong love of vocal music. In 1935, Barber recorded his own setting of Arnold's "Dover Beach" for NBC, singing the vocal part accompanied by string quartet, and he was also featured weekly on NBC Radio in 1935–1936 performing German lieder and art songs. He also occasionally conducted performances and recordings of his works with symphony orchestras during the 1950s, and taught composition at the Curtis Institute from 1939 to 1942. Barber was in a relationship with the composer Gian Carlo Menotti for more than 40 years. They lived at Capricorn, a house just north of New York City, where they frequently hosted parties with academic and music luminaries. Menotti was Barber's librettist for two of his three operas. When the relationship ended in 1970, they remained close friends until Barber's death from cancer in 1981.

The Barber of Seville, or The Useless Precaution (Italian: Il barbiere di Siviglia, ossia L'inutile precauzione [il barˈbjɛːre di siˈviʎʎa osˈsiːa liˈnuːtile prekautˈtsjoːne]) is an opera buffa (comic opera) in two acts composed by Gioachino Rossini with an Italian libretto by Cesare Sterbini. The libretto was based on Pierre Beaumarchais's French comedy The Barber of Seville (1775). The premiere of Rossini's opera (under the title Almaviva, o sia L'inutile precauzione) took place on 20 February 1816 at the Teatro Argentina, Rome, with designs by Angelo Toselli. Rossini's Barber of Seville is considered to be one of the greatest masterpieces of comedy within music, and has been described as the opera buffa of all "opere buffe". After two centuries, it remains a popular work.

This is a list of compositions by Samuel Barber sorted by genre, opus number, date of composition, and title.

This is a list of compositions by Samuel Barber sorted by genre, opus number, date of composition, and title.

This is a list of compositions by Samuel Barber sorted by genre, opus number, date of composition, and title.

This is a list of compositions by Samuel Barber sorted by genre, opus number, date of composition, and title.

The Count of Monte Cristo is a 2002 historical adventure film, which is an adaptation of the 1844 novel of the same name by Alexandre Dumas, produced by Roger Birnbaum, Gary Barber, and Jonathan Glickman, and directed by Kevin Reynolds. The film stars Jim Caviezel, Guy Pearce, Richard Harris, James Frain, Dagmara Dominczyk, Luis Guzmán and Henry Cavill in one of his earliest roles. It follows the general plot of the novel, with the main storyline of imprisonment and revenge preserved, but many elements, including the relationships between major characters and the ending were modified. The Count of Monte Cristo was released in North America on January 25, 2002, to generally positive reviews from critics. It was commercially successful, grossing $75 million.

This is a list of compositions by Samuel Barber sorted by genre, opus number, date of composition, and title.

This is a list of notable events in music that took place in the year 1928.

Shaftsbury is a town in Bennington County, Vermont, United States. The population was 3,598 at the 2020 census.

This is a list of notable left-handed musicians who play their instruments naturally. This does not include left-handed people who play (or played) right-handed, such as Joe Perry, Mark Knopfler, and Gary Moore.

Sweeney Todd: The Demon Barber of Fleet Street (often referred to simply as Sweeney Todd) is a 1979 musical with music and lyrics by Stephen Sondheim, book by Hugh Wheeler. It is based on the 1970 play Sweeney Todd by Christopher Bond. The character of Sweeney Todd first appeared in a Victorian penny dreadful titled The String of Pearls. Sweeney Todd opened on Broadway in 1979 and in the West End in 1980. It won the Tony Award for Best Musical and Olivier Award for Best New Musical. It has been revived in many productions and inspired a film adaptation. The original logo for the musical is a modified version of an advertising image from the 19th century, with the sign replaced by a straight razor. There is also a woman wearing a blood-stained dress and holding a rolling pin next to the man.

This is a list of notable events in music that took place in the year 1964.

This is a list of compositions by Samuel Barber sorted by genre, opus number, date of composition, and title.