‘Playing Bach on an accordion is often met with surprise and scepticism. Can the accordion leave this masterpiece intact, technically, musically and in terms of sound? How far can I go in the dynamic differences of such a baroque work, taking into account the nature and the scope of the accordion? Do I aspire to a simple tone such as that of the harpsichord or do I actually want to play out the characteristics of the accordion and then to what extent? How realistic is it to aspire to a plucked harpsichord sound? How do I express the transparency between different voices, what adaptations to the score are needed to achieve this? The result of my quest: the passionate temperament of the accordion (and accordionist) must be tempered. There is only one guideline: Bach’s music.’ –Philippe Thuriot
