Great films have only become what they are through great, but sometimes also simply ingenious, strokes of compositional genius. Accurate melodies are required, but also specific sounds that burn themselves into the consciousness together with the images. It is a musical declaration of love to cinema when Walter Abt, together with the clarinettist OGNIEN POPOVIC, the violinist CATALINA PIRES and, at times, the Munich Guitars Ensemble pay homage to this cultural asset that has long since become classical.

DEUTSCH: Große Filme sind nun mal nur durch große, aber manchmal eben auch einfach-geniale kompositorische Geniestreiche zu dem geworden, was sie sind. Treffsichere Melodien sind gefragt, aber auch spezifische Klänge, der sich zusammen mit den Bildern ins Bewusstsein einbrennt. Eine musikalische Liebeserklärung ans Kino ist es, wenn Walter Abt zusammen mit dem Klarinettisten OGNIEN POPOVIC, der Violinistin CATALINA PIRES und phasenweise auch dem Munich Guitars Ensemble diesem, längst klassisch gewordenen Kulturgut huldigt.

Great films have only become what they are through great, but sometimes also simply ingenious, strokes of compositional genius. Accurate melodies are required, but also specific sounds that burn themselves into the consciousness together with the images. It is a musical declaration of love to cinema when Walter Abt, together with the clarinettist OGNIEN POPOVIC, the violinist CATALINA PIRES and, at times, the Munich Guitars Ensemble pay homage to this cultural asset that has long since become classical.

DEUTSCH: Große Filme sind nun mal nur durch große, aber manchmal eben auch einfach-geniale kompositorische Geniestreiche zu dem geworden, was sie sind. Treffsichere Melodien sind gefragt, aber auch spezifische Klänge, der sich zusammen mit den Bildern ins Bewusstsein einbrennt. Eine musikalische Liebeserklärung ans Kino ist es, wenn Walter Abt zusammen mit dem Klarinettisten OGNIEN POPOVIC, der Violinistin CATALINA PIRES und phasenweise auch dem Munich Guitars Ensemble diesem, längst klassisch gewordenen Kulturgut huldigt.

One night after a long day of filming in the year 1949, The Third Man on location in Vienna,
Carol 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.

This recording presents an arrangement for clarinet and guitar orchestra by Walter Abt.

The soloist on clarinet is the outstanding Serbian virtuoso Ognjen Popovic.

The Oboe Concerto in D minor, S D935, is an early 18th-century concerto for oboe, strings
and continuo attributed to the Venetian composer Alessandro Marcello. The earliest extant
manuscript containing Johann Sebastian Bach's solo keyboard arrangement of the concerto,
BWV 974, dates from around 1715. As a concerto for oboe, strings and continuo its oldest
extant sources date from 1717: that year it was printed in Amsterdam, and a C minor variant
of the concerto, S Z799, was written down.
Bach's keyboard version was published as an arrangement of a concerto by Antonio Vivaldi in
the 19th century. In 1923 the C minor version of the oboe concerto was published as a
composition by Benedetto Marcello, Alessandro's brother.

In this outstanding version you can join the clarinet virtuoso Ognjen Popovic together with Walter Abt on guitar and accompanied by Munich Guitar Orchestra.This Chorinho is an instrumental Brazilian popular music genre which originated in 19th century Rio
de Janeiro. Despite its name, the music often has a fast and happy rhythm. It is characterized by
virtuosity, improvisation and subtle modulations, and is full of syncopation and counterpoint. Choro
is considered the first characteristically Brazilian genre of urban popular music

Tico-Tico no fubá (rufous-collared sparrow in the cornmeal") is a Brazilian choro song written by
Zequinha de Abreu in 1917. Its original title was "Tico-Tico no farelo" ("sparrow in the bran"), but
since Brazilian guitarist Américo Jacomino "Canhoto" (1889–1928) had a work with the same
title,Abreu's work was given its present name in 1931, and sometime afterward Aloysio de Oliveira
wrote the original Portuguese lyrics..
Outside Brazil, the song reached its peak popularity in the 1940s, with successful recordings by Ethel
Smith, The Andrews Sisters (with English-language lyrics by Ervin Drake), Carmen Miranda and
others.

This arrangement by Walter Abt is the essential of the ensemble version recorded on
the CD CINEMA PARADISO SOUNDTRACKS. The B part contains an improvisation on the preceding
theme of the A part. Every player who appreciates and knows how to improvise can insert his own
chorus by using the given chord symbols. On score, a direct transition from A to C is also possible (without
improvisation, which you listen here in outstanding performance by Ognjen Popovic on clarinet).
The Adagio in G minor for strings and organ is a neo-Baroque composition commonly attributed to
the 18th-century Venetian master Tomaso Albinoni, but actually composed by 20th-century
musicologist and Albinoni biographer Remo Giazotto, purportedly based on the discovery of a
manuscript fragment by Albinoni.
DEUTSCH: Diese Bearbeitung von Walter Abt ist das Essential der Ensemblefassung,
die auf der CD CINEMA PARADISO SOUNDTRACKS eingespielt ist. Der B-Teil enthält eine
Improvisation über das vorausgegangene Thema des A-Teils (hier von Ognjen Popovic an der

Klarinette virtuos gespielt). Jeder Spieler, der das Improvisieren
schätzt und beherrscht, kann durch die vorgegebenen Akkordsymbole seinen eigenen Chorus
einfügen. Auch ein direkter Übergang von A nach C ist möglich (ohne Improvisation).
Das Adagio in g-Moll für Streicher und Orgel ist eine neobarocke Komposition, die gemeinhin dem
venezianischen Meister Tomaso Albinoni aus dem 18. Jahrhundert zugeschrieben wird, in
Wirklichkeit aber von dem Musikwissenschaftler und Albinoni-Biographen Remo Giazotto aus dem
20. Jahrhundert komponiert wurde und angeblich auf der Entdeckung eines Manuskriptfragments
von Albinoni beruht.

The outstanding clarinet virtuso Ognjen Popovic is performing with Walter Abt and Munich Guitar Ensemble.

The first film in the series derives its name from a pink diamond that has enormous size and value.
The diamond is called the "Pink Panther" because the flaw at its center, when viewed closely, is said
to resemble a leaping pink panther. The phrase reappears in the title of the fourth film The Return of
the Pink Panther, in which the theft of the diamond is again the center of the plot. The phrase was
used for all the subsequent films in the series, even when the jewel did not figure in the plot. The
jewel ultimately appeared in six of the 11 films. Most of the films were written and directed by Blake
Edwards, with theme music composed by Henry Mancini.