Which musical instrument did Anton Karas play when he recorded the Third Man theme?
"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"
"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"
"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"
"a 40-year-old musician who was playing there just for the tips. Reed immediately realized that this was the music he wanted for his film. Karas spoke only German, which no one in Reed's party spoke, but fellow customers translated Reed's offer to the musician that he compose and perform the soundtrack for ""The Third Man"". Karas was reluctant since it meant traveling to England, but he finally accepted. Karas wrote and recorded the 40 minutes of music heard in ""The Third Man"" over a six-week period, after the entire film was translated for him at Shepperton Studios. The composition that"
"a guitar and accordion, they take requests for songs from their repertoire of ""Wienerlieder"" and Schrammelmusik. These songs' themes invariably revolve around the quality of the wine, its consumption and consequences, Vienna's beauty, a nostalgic longing for the past, the transience of life, the inevitability of suffering and death at God's will, and, to a somewhat lesser degree, romantic love. Even trying to honor the ""Heuriger"" tradition, music has changed dramatically since performers such as The Third Man sensation Anton Karas earned a living by playing his zither or Hans Moser sang a ""Wienerlied"" from his movies. Visitors from Germany"
"troupe of circus performers joined Gérard on stage for the finale. Anton Karas also performed his composition ""Harry Lime Theme"" from the film, ""The Third Man"". Gérard enjoyed a further major hit in the French pop charts with ""Mélodie mélodie"", taken from his 1978 album of the same name. This led to various television and radio appearances in France and Germany. Following the Paris Olympia concert, he took the nucleus of the orchestra and formed a seven-piece band, Horde, with which he played a number of shows in Paris and the south of France in 1978 and 1979. He continued"
"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"
"and languages from various Northern European folk traditions."" He also wanted the score to be huge and varied, ""full of peaks and valleys, tiny incantations and gigantic set pieces."" The main Kratos theme in particular features low orchestral instruments, Icelandic choir, deep male vocals, powerful female vocals (in particular Faroese singer Eivør Pálsdóttir), folk percussion, and Nordic stringed instruments, such as the nyckelharpa and hurdy gurdy. The track ""Witch of the Woods"" uses a renaissance and baroque instrument called a viola da gamba, which is an ancestor of the modern cello. The Stranger's theme, found in the track ""Deliverance"", uses"
"basis for his voice) and Pinky as Holly Martins. The Third Man The Third Man is a 1949 British film noir directed by Carol Reed, written by Graham Greene, and starring Joseph Cotten, Alida Valli, Orson Welles, and Trevor Howard. The film is set in post–World War II Vienna. It centres on Holly Martins, an American who is given a job in Vienna by his friend Harry Lime, but when Holly arrives in Vienna he gets the news that Lime is dead. Martins then meets with Lime's acquaintances in an attempt to investigate what he considers a suspicious death. The"
"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"
"The Third Man The Third Man is a 1949 British film noir directed by Carol Reed, written by Graham Greene, and starring Joseph Cotten, Alida Valli, Orson Welles, and Trevor Howard. The film is set in post–World War II Vienna. It centres on Holly Martins, an American who is given a job in Vienna by his friend Harry Lime, but when Holly arrives in Vienna he gets the news that Lime is dead. Martins then meets with Lime's acquaintances in an attempt to investigate what he considers a suspicious death. The atmospheric use of black-and-white expressionist cinematography by Robert Krasker,"
"Chris Karan Chris Karan (born Chrisostomos Karanikis, 14 October 1939, Melbourne, Victoria, Australia) is an Australian jazz drummer and percussionist of Greek descent. He played in Mike Nock's trio in Sydney in the early 1960s. After moving to London in 1962 Karan gained international renown as the drummer in the Dudley Moore Trio; he toured and recorded with Moore for many years, including the Trio's numerous appearances on the TV series ""Not Only But Also"" and the soundtrack of the 1967 movie ""Bedazzled"". Their professional association continued until Moore's last major public appearance at Carnegie Hall in New York in"
"in two or more of the tracks listed. Two of them are pinned to location, three are pinned to characters Necros, Kara and Koskov, one is pinned to the title song by a-ha, one is pinned to the Mujahedin and one is the Monty Norman James Bond Theme. The Living Daylights Theme Necros' Theme Mujahedin Theme James Bond Theme Kara's Theme Koskov's Theme Vienna Theme / If There Was a Man Afghanistan Theme In addition to the above, the film features a number of pieces of classical music – naturally, since it involves an international-standard cellist in Kara Milovy. Mozart's"
"the third single ""Human"", a track with a mambo-style beat. The fourth song, ""Pilots"", which describes travelers floating in the atmosphere above the earth, was inspired by John Barry's ""James Bond"" theme songs. In the United Kingdom, a remixed version of the song was released as a single, reaching number 68 on the UK Singles Chart. The ballad ""Deer Stop"" features childlike vocals and sexually suggestive lyrics. The title track was influenced by Goldfrapp's ""idea of a wolf being whipped in this little Tudor house overlooking a snowy landscape"". ""Oompa Radar"", the seventh track, was inspired by Roman Polanski's 1966"
"of ""three people"" with ""Universe at War"", as the game's audio requirements changed constantly, requiring vigilance and programmer support. ""Divine Intervention"" was later nominated for a ""Game Audio Network Guild"" award, and the soundtrack was released as a free download after Petroglyph's efforts toward a traditional release were frustrated. Klepacki next composed three songs for """", including ""Hell March 3"". ""Hell March 3"" was recorded with the aid of a 4-piece rock band alongside the Skywalker Symphony Orchestra and Choir at the Skywalker Sound scoring stage; the choir also sang in Russian for an updated version of ""Grinder"" from ""Red"
"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"
"his parents and at 18 entered the Royal College of Music to study viola and horn. He was a classical composer who also wrote music scores for nearly 50 films from the 1930s to 1950s. He will be found on the credits of films from ""Man of Aran"" (1934) to ""Grand National Night"" (1954). While he no doubt gained considerable satisfaction from these compositions – and access to a large audience – there were also frustrations as the film editing process frequently required the removal or addition of a bar quite regardless of the overall theme of the piece. Whether"
"triple time in which a strong irregular beat is emphasised by powerful percussion. The music critic Alex Ross has described the irregular process whereby Stravinsky adapted and absorbed traditional Russian folk material into the score. He ""proceeded to pulverize them into motivic bits, pile them up in layers, and reassemble them in cubistic collages and montages"". The duration of the work is about 35 minutes. The score calls for a large orchestra consisting of the following instruments. Woodwinds Brass Percussion Strings Despite the large orchestra, much of the score is written chamber-fashion, with individual instruments and small groups having distinct"
"Monkey Man (The Rolling Stones song) ""Monkey Man"" is a song by English rock band the Rolling Stones, featured as the eighth track on their 1969 album ""Let It Bleed"". Mick Jagger and Keith Richards wrote ""Monkey Man"" as a tribute to Italian pop artist Mario Schifano, whom they met on the set of his movie ""Umano Non Umano!"" (""Human, Not Human!""). Recorded in April 1969, the song's introduction features distinctive vibraphone, bass and guitar, as well as piano; it came between the band's firing of Brian Jones and the hiring of Mick Taylor on lead guitar. Richards plays 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"
"1999, the CD from the first Three Tenors concert in Rome had sold an estimated 13 million copies, making it the best-selling classical recording of all time. The early 1990s also saw Carreras serving as the Musical Director for the opening and closing ceremonies of 1992 Barcelona Olympic Games, and performing in a worldwide concert tour in tribute to his first singing hero, Mario Lanza. By the 2000s Carreras's recording and live concert repertoire had moved largely to art song, Neapolitan songs, the light classical genre, and 'easy-listening'. He has also increasingly performed and recorded with artists from outside the"
"third to the first person and amended the last line in the verses. The song ""If Long Suffering"" was recorded for the movie ""The Cook and the Singer"" (1978) and sounded there in full. According to the original idea, this song should not have been in the ""Woman Who Sings"". During the time of its release, the film had a mixed critical reception. The Woman who Sings The Woman who Sings () is a 1978 Soviet film by Aleksandr Orlov. It is a musical melodrama and fictionalized biography of Alla Pugacheva, where the heroine is represented by Anna Streltsova. The"
"The composer wrote the major female characters with the voice of a counter-tenor in mind. The main figures are characterized by solo instruments: flute for Olga, oboe and also English horn for Irina, clarinet for Masha, bass clarinet for Kulygin, bassoon for Andrei, soprano saxophone for Natasha, French horn for Tuzenbach, flugelhorn and also trumpet for Vershinin, trombone for the doctor, percussion for Solyony, viola for the three sisters, and double bass for Anfisa. The premiere at the Opéra National de Lyon on 13 March 1998 was directed by Ushio Amagatsu. The conductor was Nagano, while the second conductor of"
"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"
"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"""
"composed by Öse Schuppel, Siegfried Behrend, and Vitaly Gnutov, and performed by the Osipov State Russian Folk Orchestra. Wes Anderson and Randall Poster chose the distinctive sound of the balalaika to establish the musical voice of the film and managed to gather two orchestras for a total of 35 balalaika musicians for the recording of the soundtrack including the France-based and the from Moscow. Desplat’s use of the balalaika begins with “Mr. Moustafa” but it returns over and over again. Other instruments in this soundtrack include alphorns, whistles, organ, male choir, bells and cimbalom. The 32 tracks, with orchestral elements,"
"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"
"solo violin, three flutes (3rd doubling piccolo), three oboes, cor anglais, three clarinets (3rd doubling bass clarinet), two bassoons, contrabassoon, four horns, tuba, timpani, tambourine, tam-tam, xylophone, celesta, two harps and strings. Unusually, the score omits trumpets and trombones. The concerto is sometimes numbered as Opus 99, although because of the delay between composition and performance it was originally listed as Opus 77. Because of the uncertainty of the political climate, Shostakovich shelved the concerto until after Stalin's demise, and then released the concerto as Opus 99. For this reason, Opus 77 was then allocated to Three Pieces for Orchestra—a"
"the third from 1983 to 1985) were written by Mike Moran. The theme tune used between 1986 and 1993 was performed by Art of Noise, and is perhaps the programme's best-known theme. It was written by band members Anne Dudley and J. J. Jeczalik. The exact version of this theme tune varied in some episodes/series-for example, the drum beats in the music in some episodes/series were more emphasised, as was the synthesizer melody, but generally it remained the same. Mistakenly referred to as ""Beat Box"", the track which appeared on their debut album ""Who's Afraid of the Art of Noise?"","
"villain. Gene Siskel remarked that it was an ""exemplary piece of moviemaking, highlighting the ruins of World War II and juxtaposing it with the characters' own damaged histories"". The film has a 99% rating on Rotten Tomatoes based on 77 reviews, with an average rating of 9.3/10 and the following consensus: ""This atmospheric thriller is one of the undisputed masterpieces of cinema, and boasts iconic performances from Joseph Cotten and Orson Welles."" ""The Third Man Theme"" was released as a single in 1949/50 (Decca in the UK, London Records in the US). It became a best-seller; by November 1949, 300,000"
"album in which ""the distinctions between old and new are blurred, and the effect is comforting rather than disconcerting."" As with many Kronos Quartet albums, the basic string quartet is augmented by various other, sometimes exotic instruments. The Swedish song ""Längdans efter Byfåns Mats"" features a bagpipe, and the traditional Swedish bridal march ""Brudmarsch frå Östa"" includes a nyckelharpa (a string instrument related to the hurdy-gurdy). Chinese virtuoso musician Wu Man plays two kinds of ruan (a plucked lute-like string instrument) on ""Lachrymæ Antiquæ."" Perhaps the most exotic instrumentation is found on ""Uleg-Khem"", a traditional Tuvan song, where the quartet"
"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"
"and viola da gamba making appearances alongside the more familiar classical guitar and clarinet. The use of the viola da gamba was inspired by a 15-year-old Schott viewing ""Tous les matins du monde"", a French film (adapted from a novel of the same name) based on the life of Marin Marais who played the instrument. The looped aesthetic that had characterised much of Colleen's earlier work was discarded on this release in favour of a more open-ended and unstructured approach. A marine theme is apparent in the name of many of the tracks and in the name of the album"