Competition
In 2026, the Accordion Boundless competition once again invites accordionists from all over the world to present their musical expressiveness in a cross-genre setting. Whether classical literature, contemporary compositions, world music, jazz or innovative crossover projects - artistic independence, technical excellence and stylistic openness are required.
Global talent. Local stage. Unlimited music. Register now - and bring your accordion to the big stage!
Conditions of participation:
8 CATEGORIES/ 2 ROUNDS (2nd round = public competition concert)
Registration deadline: 07.03.2026
Classical
- Minimum age: 18 years
- Round 1: 15-20 minutes
- Round 2: 10 minutes
POPULAR:
- Minimum age: 18 years
- Round 1: 10 minutes
- Round 2: 10 minutes
ENSEMBLE (chamber music):
- Average minimum age: 18 years
- At least 1 accordion
- Maximum 6 players
- Exclusively acoustic instruments
- Round 1: 10-15 minutes
- Round 2: 10 minutes
- Free choice of music
ENSEMBLE (world music):
- Average minimum age: 18 years
- At least 1 accordion
- Maximum 6 players
- Round 1: 15-20 minutes
- Round 2: 10 minutes
JUNIOR CLASSIC:
- Maximum age: 17 years
- Round 1: 12 - 15 minutes
- Round 2: 10 minutes
JUNIOR- POPULAR:
- Maximum age: 17 years
- Round 1: 7 minutes
- Round 2: 7 minutes
JUNIOR ENSEMBLE:
- Average maximum age: 17 years
- At least 1 accordion
- Maximum 6 players
- Exclusively acoustic instruments
- Round 1: 10 minutes
- Round 2: 10 minutes
- Free choice of music
New category: „Trossingen School“
- without age limit
- 1st round : one piece from the optional/compulsory programme (see list) + at least 1 movement from the Trossingen school (Hugo Hermann, Hans Brehme, Lothar von Knorr etc.) max: 12 - 15 min.
- 2nd round : „La Campanella“ or „Black Eyes“.
List of optional/mandatory programme:
In this category, participants should perform the following works as compulsory/elective pieces. The sheet music can be ordered (see right, mobile below):
- Johann Strauss - Die Fledermaus
- Bela Keler - Hungarian comedy overture
- Carl Maria von Weber - Invitation to dance
- Amilcare Ponchielli - Dance of the Hours
- Josef Hellmesberger - Ball scene
- Rudolf Würther - Carmen Fantasy (after Georges Bizet)
- Rudolf Würthner - Variations on a Russian folk song (Black Eyes) and as a single edition
- Rudolf Würthner - La Campanella
Links to order sheet music
The big book of original music I
The big book of original music II
The new music for the accordion:
"Musical movement games" by Hugo Herrmann (link will be provided later)
The „Trossingen School“ category - A tribute to Würthner, Hermann, Brehme, von Knorr
The „Trossinger Schule“ category at Akkordeon Grenzenlos 2026 is more than just a regional award - it is a tribute to a musical heritage that radiates far beyond the city limits. Dedicated to Rudolf Würthner, one of the most important accordionists and music teachers until the 1970s, this category honours those participants who stand out for their particular technical finesse and artistic expressiveness - in the spirit of the Trossingen original.
Rudolf Würthner was a true Trossinger
In the 1920s and 1930s, he grew up in the heyday of the hand harmonica and became the youngest member of the newly founded Hohner hand harmonica orchestra at a young age. In 1939, he graduated from the hand harmonica school - today's Hohner Conservatory - as one of the best graduates and soon became a lecturer there himself. After the Second World War, Würthner played a decisive role in shaping the accordion scene. He formed the Orchestra of the House of Hohner (ODHH) from a small elite ensemble, which achieved international fame through its concert tours all over the world. His greatest success as a soloist was second place at the 1948 World Festival in Lausanne - runner-up in the world championship with an unusual Bach arrangement on the accordion!
Hugo Herrmann (1896- 1967) - Pioneer of accordion music
Herrmann, originally a primary school teacher, discovered his musical talent at an early age and studied composition with Franz Schreker in Berlin. In the 1920s, he developed an independent style characterised by modern elements, jazz sounds and rhythmic sophistication. In 1926, Paul Hindemith commissioned him to compose „Sieben Neue Spielmusiken“, which is regarded as the first original composition and the musical cornerstone of New Music for accordion and established his lifelong connection to the Trossingen Harmonica School. As director of the Trossingen technical school (1935-1963), Herrmann had a lasting influence on accordion pedagogy and repertoire and was one of the most important composers of this emerging scene at the time.
Hans Brehme (1904- 1957) - composer, pedagogue and university lecturer in Trossingen
Brehme studied piano and composition at the Berlin Academy of Music from 1922 to 1928 and then worked as a piano teacher at the Stuttgart Academy of Music. After being appointed professor in 1940, his opera „Der Uhrmacher von Straßburg“ was premiered in 1941 - a highlight of his compositional output. From 1945 to 1949, Brehme worked as a professor at the University Institute for Music Education in Trossingen, where he made a significant contribution to musical reconstruction work in the post-war period. During this time, he created important works for the accordion, which show his signature as a composer and teacher with close ties to tradition. His return to the Musikhochschule Stuttgart in 1950 marked the end of a formative period in Trossingen that continues to have an impact today.
Ernst-Lothar von Knorr (1896- 1973) - driving force behind music education in Trossingen
Ernst-Lothar von Knorr was a distinguished musician, university lecturer and cultural politician who was committed to promoting musical education throughout his life. After working in Heidelberg, Berlin and Frankfurt, he began to establish the State University Institute for Music Education in Trossingen in 1944, which he led as director through the difficult post-war period. Many of his original compositions with accordion were written during this time. Despite the political burden of the Nazi era, he was recognised as having little responsibility in 1948, allowing him to continue his work. Von Knorr worked tirelessly for the preservation and further development of the Trossingen institution and shaped its profile as a centre for music education. His later work as director in Hanover and Heidelberg and as an advisor to the Ministry of Defence underlines his cultural and political significance; in 1961 he was awarded the Grand Cross of the Order of Merit of the Federal Republic of Germany.