"with harsh lighting and distorted ""Dutch angle"" camera technique, is a major feature of ""The Third Man"". Combined with the iconic theme music, seedy locations and acclaimed performances from the cast, the style evokes the atmosphere of an exhausted, cynical post-war Vienna at the start of the Cold War. Greene wrote the novella of the same name as preparation for the screenplay. Anton Karas wrote and performed the score, which featured only the zither. The title music ""The Third Man Theme"" topped the international music charts in 1950, bringing the previously unknown performer international fame. It is considered one of"
"Line to inform passengers of departing trains. The Third Man Theme ""The Third Man Theme"" (also known as ""The Harry Lime Theme"") is an instrumental written and performed by Anton Karas for the soundtrack to the 1949 film ""The Third Man"". ""The Third Man"" is a 1949 British film noir, directed by Carol Reed. One night after a long day of filming ""The Third Man"" on location in Vienna, Reed and cast members Joseph Cotten, Alida Valli and Orson Welles had dinner and retired to a wine cellar. In the bistro, which retained the atmosphere of the pre-war days, they"
"after the film's premiere, and more than half a million copies of ""The Third Man Theme"" record were sold within weeks of the film's release. The tune was originally released in the U.K. in 1949, where it was known as ""The Harry Lime Theme"". Following its release in the U.S. in 1950 (see 1950 in music), ""The Third Man Theme"" spent 11 weeks at number one on ""Billboard""'s U.S. Best Sellers in Stores chart, from April 29 to July 8. Its success led to a trend in releasing film theme music as singles. A guitar version by Guy Lombardo also"
"due in great measure to the success of the 1949 British film noir ""The Third Man"". The soundtrack music for the film, which featured only a concert zither (no other instruments) – was performed by the Viennese musician Anton Karas. His ""The Third Man Theme"" was released as a single in 1949–50 and became a best-seller in the UK. Following its release in the U.S. in 1950, it spent eleven weeks at number one on ""Billboard""'s U.S. Best Sellers in Stores Chart from 29 April to 8 July. The exposure made Karas an international star. A ""Time"" magazine film preview"
"Music, where she studied piano and violin; she later taught piano at the School for several years. During the second world war she joined the USO and entertained troops overseas, finding the zither more portable than the piano, and more suitable for solo work than the violin. After the war she continued to volunteer in military hospitals for several years. In 1949 Anton Karas' theme music for the British film noir ""The Third Man"" had a vogue in the United States, and reintroduced the sound of the zither to an American public which hadn't paid it much notice since the"
"three musical instruments: the ""Ether"", which was an electronically powered wind machine, which made an inaudible humming sound, allegedly both above and below the range of human hearing, intended to have a subliminal effect on the listener; the ""Crystal"", a keyboard instrument in which the hammers struck crystal hemispheres, producing a sound rather like a celesta; and the ""croix sonore"", or ""sonorous cross"", an instrument similar to a theremin in which the pitch of the heterodyning oscillators is controlled by body capacitance – pitch would rise and fall depending on the position of the performer's arm with respect to the"
"who conducted the premiere with the Russian Symphony Society of New York on 10 December 1908, reported that Scriabin's implied program (which does not appear in the score) is based on three main ideas: his soul in the orgy of love, the realization of a fantastical dream, and the glory of his own art. The work is scored for 3 flutes, piccolo, 3 oboes, English horn, 3 clarinets, bass clarinet, 3 bassoons, contrabassoon, 8 horns, 5 trumpets, 3 trombones, tuba, timpani, bass drum, cymbals, triangle, glockenspiel, bells, tam-tam, celesta, organ (harmonium if the organ is not available), 2 harps and"
"suggestions, and in some cases, gave musical solutions. This kind of annoyed me because he'd say: 'This thing . . . try it with three flutes.' Something impossible! So, to humor him, I would do it with three flutes and then he'd decide to use my version after all. His was impossible or I would have written it myself. And more nitpicking like that which means he was very attentive and careful about music."" The score centers around three main themes: the main theme, which references ""Aquarium"", the seventh movement from Camille Saint-Saëns’s ""Carnival of the Animals"", a ""pastoral melody"""
"effect of these recordings can be heard with three percussionists performing on eleven instruments. The composer also incorporated the main theme from Jean Bosco Mwenda’s ""Masanga"" (which had been released on record in 1954). Walton described the piece to his publisher as “a non-stop gallop...slightly crazy, hilarious and vulgar”. Three flutes (third doubling piccolo), two oboes, cor anglais, three clarinets in A, three bassoons (third doubling contrabassoon) – four horns in F, three trumpets in B-flat, three trombones, tuba – timpani, three or four percussion (side drum, cymbals, suspended cymbal, bass drum, xylophone, tambourine, triangle, tenor drum, maracas, rumba sticks,"
"clarinet, bass clarinet, 2 bassoons, contrabassoon, 4 horns in F, 4 trumpets in B-flat, 3 trombones, tuba, timpani, cymbals, bass drum, tenor drum, snare drum, triangle, tamtam, glockenspiel, xylophone, anvil, claves, ratchet, whip, tubular bells, wood block, piano, celesta, 2 harps, and strings. Symphony No. 3 (Copland) Symphony No. 3 was Aaron Copland's final symphony. It was written between 1944 and 1946, and its first performance took place on October 18, 1946, the Boston Symphony Orchestra performing under Serge Koussevitzky. If the early Dance Symphony is included in the count, it is actually Copland's fourth symphony. Written at the end"
"drum, tambourine, cymbals, gong, xylophone, glockenspiel, celesta, anvil, 2 harps and strings. Unlike his first two symphonies the third is ""gentle rather than somber in character, dominated by the spirit of Northern legends which, Bax acknowledges, influenced him subconsciously"". It is in three movements: The opening movement begins with a soft bassoon solo which introduces the main melodic theme. The clarinet then joins the bassoon, followed by other instruments of the woodwind section in a relatively short lento moderato opening section. An accelerando then introduces the allegro moderato section which is based upon the opening melody from the bassoon. There"
"published in 1910 by Gutheil. Rachmaninoff called the Third the favorite of his own piano concertos, stating that ""I much prefer the Third, because my Second is so uncomfortable to play."" Nevertheless, it was not until the 1930s and largely thanks to the advocacy of Vladimir Horowitz that the Third concerto became popular. The concerto is scored for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, tuba, timpani, bass drum, snare drum, cymbals, piano and strings. The concerto is one of the main foci of the 1996 film ""Shine"", based on the life of"
"friend Ivor Atkins"". It was first performed on 8 March 1905, in the Queen's Hall, London, conducted by the composer. The instrumentation is: piccolo, 2 flutes, 2 oboes, cor anglais, 2 clarinets in B, bass clarinet in B, 3 bassoons, contrabassoon, 4 horns in F, 2 trumpets in B, 2 cornets in B, 3 trombones, tuba, timpani (3), percussion (tenor drum, side drum, bass drum & cymbals), and strings. March No. 3 differs from the others in its opening mood, which is deliberately solemn. It begins with a dark subdued quick march led by low clarinets, three bassoons and the"
"(3rd doubling piccolo), three oboes (3rd doubling cor anglais), three clarinets (3rd doubling bass clarinet), three bassoons (3rd doubling contrabassoon), four horns, four trumpets, four trombones, tuba, timpani, three percussionists, harp, celesta, and strings. Reviewing the world premiere, the music critic Patrick Corbin of ""The Indianapolis Star"" wrote, ""It's a brilliant, percussive work in the contemporary vein that requires dazzling virtuosity on the part of the soloist."" Reviewing a 2016 recording by Xiayin Wang and the BBC Philharmonic, Andrew Farach-Colton of ""Gramophone"" observed, ""The thematic material is derived from the dissonant, crunching chord that opens the finale of Beethoven's Ninth"
"3 flutes (the 3rd doubling on piccolo), 3 oboes (the 3rd doubling on cor anglais), 2 clarinets in A and B, bass clarinet in A and B, 2 bassoons, contrabassoon, 4 horns, 2 trumpets A and B, 1 contralto trumpet in F, 3 trombones, tuba, timpani, cymbals, bass drum, snare drum, triangle, tambourine, tam-tam, xylophone, 2 harps, celesta, and strings. The day after the Third Symphony premiered, Edwin Schloss wrote for ""The Philadelphia Record"" that he found the work ""a disappointment,"" with ""echoes ... of the composer's lyric spaciousness of style"" but largely sterile. Even Olin Downes, normally a champion"
"an hour in performance, is written in three movements played without pause: The third movement, which Rouse especially intended as a tribute to Bernstein, quotes a theme from Bernstein's Symphony No. 3, ""Kaddish"". On dedicating the concerto to Bernstein, Rouse wrote: The concerto is scored for a solo trombone and orchestra, comprising two bassoons, contrabassoon, four French horns, three trumpets, three trombones, tuba, harp, timpani, xylophone, glockenspiel, chimes, marimba, two suspended cymbals, snare drum, tenor drum, five tom-toms, two bongo drums, bass drum, a pair of crash cymbals, two tamtams, and strings (violins I & II, violas, violoncellos, and double"
"passage given by the full orchestra that will recur as the main theme of the third theme group: <score vorbis=""1""> \new Staff \relative c"" { \set Staff.midiInstrument = #""piano"" \key c \minor \clef treble \time 2/2 \set Score.tempoHideNote = ##t \tempo 2 = 95 \new Staff \relative g { \set Staff.midiInstrument = #""piano"" \key c \minor \clef treble \time 2/2 </score> The quiet opening returns after this and leads into the A major second theme group, called ""Schubertian"" by Georg Tintner: <score vorbis=""1""> \new Staff \relative cis"" { \set Staff.midiInstrument = #""piano"" \key a \major \clef treble \time 2/2 \set"
"work another early Continental performance in Vienna in May 1961 while on tour with the London Symphony Orchestra. The work is in three movements. It is scored for a large symphony orchestra comprising 3 flutes (3rd doubling piccolo), 3 oboes (3rd doubling cor anglais), 3 clarinets (2nd doubling clarinet in E-flat, 3rd doubling bass clarinet), 3 bassoons (3rd doubling contrabassoon), 4 horns, 3 trumpets, 3 trombones, tuba, timpani, military drum, snare drum, crash cymbals, suspended cymbal, bass drum, glockenspiel, vibraphone, xylophone, tambourine, bell, piano, celesta, 2 harps and strings. The symphony was the subject of harsh press criticism on account"
"performed (primarily though not exclusively) on an unusual electronic musical instrument, the theremin, which has a sound not unlike a low whistle or a human voice. The theremin part was played by Celia Sheen (1940–2011). From the 14th series onwards the soundtrack was altered so that during the closing titles a standardised version of the theme is played on a solo violin in place of the theremin. Occasionally a version with a longer introduction opens the show, using a flute rather than a theremin as the lead instrument. Three soundtrack CDs have been released so far, containing musical cues from"
"1st-2nd oboes (2nd doubl. English horn), 1st-2nd bassoons, Eb clarinet, Solo-1st-2nd-3rd Bb clarinets, alto clarinet, bass clarinet, AATB saxophones, Solo-1st-2nd-3rd Bb cornets, 1st-2nd trumpet, 1st-2nd-3rd-4th horns, 1st-2nd-3rd trombones, baritone/euphonium (treble and bass clef parts), tuba (""Basses""), string bass, timpani, and percussion (snare drum, bass drum, cymbals, triangle, bells, vibraphone, xylophone, wood blocks, sandpaper [blocks]). According to the composer, the catalyst for the work’s creation was a rare indoor concert by the Goldman Band in Carnegie Hall: When Edwin Franko Goldman arrived at his seventieth birthday it was celebrated by a concert sponsored by the League of Composers. For the concert"
"van Manen (""Langzaam & zacht"", 1993), and Walter Zimmermann (""Shadows of Cold Mountain I"", 1993). Three, by John Cage, is a piece for three recorder players using sopranino, soprano, alto, tenor (recorder player 1), sopranino, soprano, alto, basset, tenor, bass (recorder player 2), and soprano, alto, basset, tenor, double bass (recorder player 3). It was first performed by Trio Dolce on July 27, 1990, at the Internationale Ferienkurse für Neue Musik Darmstadt. Dorothea was also a member of The Klemisch Consort Berlin. Dorothea was a recorder teacher at the Conservatory of Zwolle, the Conservatory of Maastricht and at the Royal"
"on multiple instruments. ""McNamara's Band"" gave him scope for a similar Irish ""character song."" Irish music hall historians Watters and Murtagh described Ashcroft's performance of the routine: ""Here 'McNamara' breaks into a dancing quick-step March up and down the Stage, his nimble fingers snatching up one instrument after another, blowing the bassoon, tootling the flute, beating the drum with the knob of his baton - A One-Man Band."" Modern listeners associate the song with the version recorded on December 6, 1945 by Bing Crosby, with a set of lyrics credited to ""The Three Jesters."" Released on Decca Records in early"
"Symphony No. 3 (Schuman) American composer William Schuman's Symphony No. 3 was completed on January 11, 1941, and premiered on October 17 of that year by the Boston Symphony Orchestra conducted by Serge Koussevitsky, to whom it is dedicated. The symphony is scored for an orchestra consisting of piccolo (doubling flute), 2 flutes, 2 oboes, cor anglais, clarinet in E, 2 clarinets in B, bass clarinet, 2 bassoons, 4 horns in F, 4 trumpets in C, 4 trombones, tuba, snare drum, cymbals, bass drum, xylophone, timpani and strings. Third flute (doubling second piccolo), third oboe, third clarinet in B, third"
"bassoons, 4 horns, 2 trumpets in C, 3 trombones, 2 timpani, cymbal, 2 harps, first violins, second violins, violas, cellos, and double basses. At the New York World's Fair, on 8 May 1939 Enescu conducted a programme of Romanian compositions, which included his Second Romanian Rhapsody. The anonymous programme note stated: Although subsequent sources have occasionally referred to this ""Third Rhapsody"", it does not appear ever to have existed. For all their popularity, the two Romanian Rhapsodies proved to be ""an albatross round Enescu's neck: later in his life he bitterly resented the way they had dominated and narrowed his"
"soprano saxophone, one alto saxophone, one tenor saxophone, three trumpets, three trombones, tuba, percussion, drum set, two pianos, two banjos (one doubling guitar), strings, and solo piano. According to Antheil, the work is: ""one of the very first symphonic expressions which attempted to synthesize American jazz as a legitimate symphonic expression"". Copland's third symphony was composed between 1944 and September 1946, and was premiered by Serge Koussevitzky conducting the Boston Symphony Orchestra on October 18, 1946. It is written for three flutes, two piccolos, three oboes and English horn, two clarinets, E-flat clarinet, bass clarinet, two bassoons and contrabassoon, four"
"central ""Trio"" section. March No. 4 was completed on 7 June 1907, and dedicated ""To my friend Dr. G. Robertson Sinclair, Hereford"". It was first performed on 24 August 1907, in the Queen's Hall, London, conducted by the composer. The instrumentation is: piccolo (with 3rd flute), 2 flutes, 2 oboes, cor anglais, 2 clarinets in B, bass clarinet in B, 2 bassoons, contrabassoon, 4 horns in F, 3 trumpets in A, 3 trombones, tuba, timpani (3), percussion (side drum, bass drum & cymbals), 2 harps, and strings. The ""Trio"" was used by Elgar in a song called ""The King's Way"""
"flutes (3rd and 4th doubling piccolos), 2 oboes, cor anglais, 2 soprano clarinets, E-flat clarinet, bass clarinet, 3 bassoons (3rd doubling contrabassoon), 4 horns, 3 trumpets, 3 trombones, tuba, timpani, bass drum, tambourine, cymbals, snare drum, triangle, xylophone, tamtam, and strings. In a letter to Glikman, the composer parodied the response he expected from the government: I am sure that it will give rise to valuable critical observations which will both inspire me to future creative work and provide insights enabling me to review that which I have created in the past. Rather than take a step backward I shall"
"horn), three clarinets (third doubling bass clarinet), two bassoons, contrabassoon, four French horns, four trumpets, three trombones, tuba, timpani, percussion (anvil, bass drum, bongo drums, chimes, Chinese cymbal, glockenspiel, large triangle, Latin cowbells, marimba, snare drum, suspended cymbals, tambourine, tamtam, tom-toms, vibraphone, wood blocks, xylophone, whip), harp, piano, celesta, and strings. Mark Swed of the ""Los Angeles Times"" called the concerto a ""colorful, delight-bringing score"" and praised the references to other classical works, commenting, ""The strongest impression throughout the concerto — which has a richly expressive, exquisitely tinted variations movement in the center and a rollicking final movement — is"
"and with a lyrical string melody. The movement builds to a climax and ends with the ""nobilmente"" opening theme of the symphony returning ""orchestrated with glittering splendour"" to bring the work to a ""triumphant and confident"" conclusion. Woodwinds: 3 Flutes, (Fl. III doubles Piccolo), 2 Oboes, English Horn, 2 Clarinets in A and B flat, Bass Clarinet in A and B flat, 2 Bassons and Contrabasson Brass: 4 Horns in F, 3 Trumpets in B flat, 3 Trombones (The 3rd trombone could be a bass trombone) and Tuba Percussion: Timpani, Small Snare Drum, Bass Drum and Cymbals Strings: 2 Harps,"
"contrabassoon, 4 horns, 3 trumpets in C, 3 trombones, tuba, timpani, bass drum, piano, harp, violins I & II, violas, cellos, and double basses. Stravinsky, who rarely acknowledged outside inspirations for his music, referred to the composition as his 'war symphony'. He claimed the symphony as a direct response to events of the Second World War in both Europe and Asia. The first movement was inspired by a documentary on Japanese scorched earth tactics in China. The third movement deals with footage of German soldiers goosestepping and the allied forces' mounting success. Material is drawn from projects that Stravinsky had"
"on it in March 1903, and finished it on April 23 the same year. The score is written for three flutes, two oboes, two clarinets, two bassoons, four horns, three trumpets, three trombones, tuba, timpani, and strings. The work begins as the sun ascends over the Aegean Sea, while strings, divided horns and woodwind sound a melody. This rises out of the darkness to a full orchestra, where fanfaring trumpets begin a striding theme, which returns later in the piece. From there woodwinds begin a graceful tune, from which brass sound. Strings begin to play, which draws the orchestra into"
"Anton Karas Anton Karas (7 July 1906 – 10 January 1985) was a Viennese zither player and composer, best known for his internationally famous 1948 soundtrack to Carol Reed's ""The Third Man"", which came about as a result of a chance meeting. Born in Vienna, one of five children of a factory worker, Anton Karas was already keen on music as a child. He wanted to become a band leader, which because of the family's financial situation was impossible. However, he was allowed to learn to play an instrument, as were his two brothers and two sisters. He later reported"
"an amplified steel guitar. III. Chain to the Rhythm. In a minimalistic vein, the last movement uses rhythmic fragments that gradually build up to a thunderous climax. The work is scored for 4 flutes (3, 4 double piccolos), 3 oboes (3 doubles English horn), 3 Bb clarinets (3 doubles bass clarinet 2), bass clarinet, 3 bassoons (3 doubles contrabassoon), 4 horns in F, 4 trumpets, 3 trombones, 2 tubas, amplified steel string guitar, piano, celesta, keyboard sampler, 2 harps, 5 percussion (including 3 who are principally mallet players), and strings. In his review of the world premiere, Mark Swed, music"