The 50 Greatest Pieces of Classical Music is a compilation of classical works recorded by the London Philharmonic Orchestra with conductor David Parry. Recorded at Abbey Road Studios, Royal Festival Hall and Henry Wood Hall in London, the compilation was released in digital formats in November, 2009 and as a 4-CD set in 2011. The 50 Greatest Pieces of Classical Music has sold over 200,000 copies and spent over three days as one of the top 10 classical albums on iTunes.

This is a list of compositions by French composer Jules Massenet (1842–1912).

Jules Émile Frédéric Massenet (French pronunciation: [ʒyl emil fʁedeʁik masnɛ]; 12 May 1842 – 13 August 1912) was a French composer of the Romantic era best known for his operas, of which he wrote more than thirty. The two most frequently staged are Manon (1884) and Werther (1892). He also composed oratorios, ballets, orchestral works, incidental music, piano pieces, songs and other music. While still a schoolboy, Massenet was admitted to France's principal music college, the Paris Conservatoire. There he studied under Ambroise Thomas, whom he greatly admired. After winning the country's top musical prize, the Prix de Rome, in 1863, he composed prolifically in many genres, but quickly became best known for his operas. Between 1867 and his death forty-five years later he wrote more than forty stage works in a wide variety of styles, from opéra-comique to grand-scale depictions of classical myths, romantic comedies, lyric dramas, as well as oratorios, cantatas and ballets. Massenet had a good sense of the theatre and of what would succeed with the Parisian public. Despite some miscalculations, he produced a series of successes that made him the leading composer of opera in France in the late 19th and early 20th centuries. Like many prominent French composers of the period, Massenet became a professor at the Conservatoire. He taught composition there from 1878 until 1896, when he resigned after the death of the director, Ambroise Thomas. Among his students were Gustave Charpentier, Ernest Chausson, Reynaldo Hahn and Gabriel Pierné. By the time of his death, Massenet was regarded by many critics as old-fashioned and unadventurous although his two best-known operas remained popular in France and abroad. After a few decades of neglect, his works began to be favourably reassessed during the mid-20th century, and many of them have since been staged and recorded. Critics do not rank him among the handful of outstanding operatic geniuses: Grove's Dictionary of Music and Musicians comments, "It would be absurd to claim that he was anything more than a second-rate composer; he nevertheless deserves to be seen, like Richard Strauss, at least as a first-class second-rate one." His operas are now widely accepted as well-crafted and intelligent products of the Belle Époque.

Major/minor compositions are musical compositions that begin in a major key and end in a minor key (generally the parallel minor), specifying the keynote (as C major/minor). This is a very unusual form in tonal music, although examples became more common in the nineteenth century. There are far fewer major/minor compositions than minor/major ones (the latter category of which includes, but is not limited to, all minor-key works that end with a Picardy third, as well as many Classical- and Romantic-period symphonies, concertos, sonatas and chamber works, and individual movements thereof.) The major/minor compositions in the following lists do not necessarily end with a minor chord; a final passage in minor ending with a sonority that fails to re-establish the major mode (for example, an open octave or fifth) is sufficient. Works falling into the following categories are excluded: Compositions that would be major/minor but for a final Picardy third stipulated by the composer, such as Bach's Darzu ist erschienen der Sohn Gottes, BWV 40, Francis Poulenc's Vinea mea electa from Quatre motets pour un temps de pénitence (FP 97), or Felix Mendelssohn's Piano Sextet, Op. 110; Compositions that would be major/minor, but end inconclusively on the major dominant of the final minor key, e.g. Nos. 2 and 9 of Robert Schumann's Kerner cycle, Op. 35, or Schumann's Die Nonne, Op. 49 No. 3; Compositions in which the beginning only hints at a possible reading of a major key without really establishing it, such as the Brahms Clarinet Quintet, Haydn's two string quartets, Op. 33 No. 1 and Op. 64 No. 2, C. P. E. Bach's Piano Sonata, Wq. 55/3, or the first movement of Alkan's Grande sonate 'Les quatre âges' (all of which are in B minor, but start with the possibility of D major); Compositions in which the opening major chord merely serves a function (e.g. dominant or Neapolitan) in the ensuing minor key, without being tonicized in its own right, such as Saint-Saëns' Danse macabre or Chopin's first Ballade; Compositions that are only incidentally major/minor due to being unfinished, without any indication that the composer intended them to be major/minor, such as Schubert's Piano Sonata in C, D. 840 or Haydn's String Quartet in D minor, Op. 103; Frequently performed portions of a larger work consisting of what is technically two separate movements, if the first of these finishes clearly on the tonic (and thus doesn't require continuation), such as the opening pair of movements in Beethoven's Piano Sonata Op. 109 (connected by an attacca); Entire extended works as song cycles, ballets, operas and oratorios that finish in a different tonic than the starting one, unless the two keys carry clear extramusical or programmatic connotions within the work (an explanation of which must accompany any such listings below).

This is a list of compositions by French composer Jules Massenet (1842–1912).

L'histoire de Manon, generally referred to as Manon, is a ballet choreographed by Kenneth MacMillan to music by Jules Massenet and based on the 1731 novel Manon Lescaut by Abbé Prévost. The ballet was first performed by The Royal Ballet in London in 1974 with Antoinette Sibley and Anthony Dowell in the leading roles. It continues to be performed and recognised internationally.