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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.

His ideas were not, however, widely accepted until 1862, when luthier Max Amberger of Munich fabricated a new zither based on Weigel's design.

At this point the zither had reached something very close to its modern concert form.

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The number of strings varies, from one to more than fifty.

Within a relatively short time the new design had largely replaced the old Volkszither (though still called by the same name among folk musicians) throughout central Europe, particularly in the Alpine countries.

As the 'concert zither' it also began to attract the attention of serious composers, a number of whom, themselves, became concert zither virtuosi.

Other types of zither also existed in Germany, mostly drone zithers like the scheitholt (which was mentioned by Praetorius) or hummel, but these generally have their own individual regional names and may have been in use before the introduction into the lexicon of 'cythara' and its German derivative cognate.

The Hornbostel-Sachs system, an academic instrument classification method, also uses the term zither, to classify all stringed instruments in which the strings do not extend beyond the sounding box.

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