Spectacular technique and compositional style from Anton Wurzer

Music / Anton Wurzer Akkordeon concert

At Wesley Music Centre

October 9, 2024

Akkordeonist Anton Wurzer at Wesley. (Photo: Tony Magee)

Reviewed by Tony Magee

Anton Wurzer took his first music lessons at age 10 from his late father Josef who was a button akkordeon player.

“I always dare to be different and consider myself a unique Akkordeonist. I also use my own spelling for the word Akkordeon,” says Anton.

Delving into the international spelling of the word, I discover two more variants - Accordeon is frequently used throughout Europe, whilst Accordion is usual for the UK, USA and Australia.

For his concert at The Wesley Music Centre, Wurzer played a selection of seven of his original compositions, varied in style, played with incredible skill and suitably spiced with informative introductions as to the musical thought behind them as well as the inspiration and demographic influences, truely international repertoire.

Without hesitation, I would describe Wurzer as a world class player with a spectacular technique, on what is a complex instrument.

His right hand covered the entire range of the substantial keyboard section of the instrument in dazzling arrays of vivace melodic runs, scales, arpeggios and chords.

His left hand controlled the vast array of buttons, which can actually be used for melody, but mostly serve as a solid orchestral or big band foundation and accompaniment.

But the audience also saw and heard the incredible dynamic swells that a third part of the instrument delivers - the bellows - which swell in and out almost mimicking an oceanic wash.

Opening with Waves of Mallorca, the piece is a contemporary style composition with Spanish influences. Beginning in 6/8 time, the piece moved to slower and then accelerated 3/4 time, conjuring up street scenes.

Madrid to Paris is a French style Musette, but came across more as a romp through Europe, with clear Spanish influences, and a finale evoking Viennese style ballroom scenes.

Red Samba Beans, as the name suggests is a Samba. I could almost see the great statue, Christ the Redeemer, towering over Rio De Janeiro. The South American rhythms came not just from the music itself, but also percussive slaps and hits on the body of the instrument aided by finger snaps, which the audience soon cottoned on to, adding a considerable element of fun in participation.

Christ the Redeemer overlooking Rio De Janeiro. Photo courtesy Wonders of the World

Inspiration sometimes comes from strange places. Wurzer explained that Ein Jazz Walzer was conceived whilst cooking an evening meal. It was jazzy and bluesy, including a swinging improvisation.

I should mention that none of these pieces are written out. Everything Wurzer played was straight from the heart and the mind and I got the feeling that none are ever played the same way twice.

Left hand bass riffs and motifs from the button side of the instrument served as the foundation for Groovy Man Walkin’, with substantial bellow washes creating a huge dynamic range, all serving as a fascinating accompaniment to melodic jazz phrases from the keyboard section of the instrument. Oh, and the “groovy” part was clearly evident, perhaps a gentle homage to Simon and Garfunkel.

Mia Samba, which translates to My Samba evoked images of the Brazilian Mardi Gras style, showcasing traditional Latin American themes, both rhythmical and lyrical.

Rem Zelker closed the program. Some audience members, this reviewer included, teared up when Wurzer explained that the piece was dedicated to the 283 passengers and crew who lost their lives when Malaysian Airlines flight MH17 was shot down over Eastern Ukraine in July 2014, including 38 Australians.

Opening with a haunting but suitably respectful funeral march, the piece finished with an air of hope for peace, reflected in a Klezmer style 2/4 march of brighter demeanour.

Canberra audiences will remember with fondness the many seasons played by the Wilf Jones Trio at Queanbeyan’s School of Arts Cafe during the 1990s. With Wilfred on violin, the trio included George Urbaszek on double bass and Anton Wurzer himself on accordion. Great days and great music.

Wurzer received enthusiastic applause from the audience, for what was one of the more unusual but fascinating Wesley lunchtime concerts and was called back for an encore, which he introduced as Song for my Father.

First published at Canberra Critics Circle, October 11, 2024