The third man theme guy lombardo biography

"The Royal Canadians" redirects here. For other uses, see Royal Canadian (disambiguation).

Gaetano Alberto "Guy" Lombardo (June 19, 1902 – November 5, 1977) was a Canadian and American bandleader, violinist, and hydroplane racer whose unique "sweet jazz" style remained popular with audiences for nearly five decades.

Lombardo formed the Royal Canadians in 1924 with his brothers Carmen, Lebert and Victor, and other musicians from his hometown. They billed themselves as creating "the sweetest music this side of Heaven". The Lombardos are believed to have sold between 100 and 300 million records during their lifetimes, many featuring the band's lead singer from 1940 onward, Kenny Gardner.

Early life

Lombardo was born in London, Ontario, Canada. His parents were Italian immigrants: Gaetano Alberto who was born in Lipari, Italy (1873–1954), and Angelina Lombardo. Gaetano Sr. was employed as a tailor but was also an amateur baritone singer. He encouraged four of his five young sons to study musical instruments so that they could serve as his accompanists. Consequently, even as a young student in grammar school, Lombardo joined with his brothers to form their first orchestra. Rehearsals took place behind the family's tailor shop. Lombardo's first public appearance with his brother Carmen occurred during an outdoor lawn party at a ch

Home  ·  Listener's Guide  ·  The Songs  ·  Who's Who  ·  Liner Notes  ·  Selected Tracks  ·  What's New  ·  Search

1949 single by Anton Karas

"The Third Man Theme" (also written "3rd Man Theme" and 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. Upon release the theme proved popular, spending eleven weeks at number one on Billboard's United States Best Sellers in Stores chart. Multiple versions have been performed and recorded, selling tens of millions of copies, and its success influenced the release strategy of later film singles.

Background

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 heard the zither music of Anton Karas, 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 became famous as "The Third Man Theme" had long been in Karas's repertoire, but he had not played it in 15 years. "When you play in a café, nobody stops to listen," Karas said. "This tune takes a lot out of your fingers. I prefer playing 'Wien, Wien', the sort of thing one can play all night while eating sausages at the same time." According to writer and critic Rudi Blesh, the tune is identical to the m

“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.

Story

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 heard the zither music of Anton Karas, 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 became famous as “The Third Man Theme” had long been in Karas’s repertoire, but he had not played it in 15 years. “When you play in a café, nobody stops to listen,” Karas said. “This tune takes a lot out of your fingers. I prefer playing ‘Wien, Wien’, the sort of thing one can play all night while eating sausages at the same time.”

So prominent is “The Third Man Theme” that the image of its performance on the vibrating strings of the zither provides the background for the film’s main title sequence.

The full soundtrack album was ready for release when The Third Man came out, but there was not a lot of interest in it. Instead, labels focused on the catchy main theme and released it as a single. More than half a million copies of “Th