The accordion was born as cultured musical instrument adapted to perform transcriptions and classical music. Pierre Monichon (one of the most authoritative scholars on the history of the accordion who Marco Lo Russo has had the honor to interview and get to know during their university studies) writes in his study The accordion in 1985: “The accordion was born in Vienna in 1829. She is the daughter of Romanticism. It was the ladies toy in bourgeois salons […] Then, with a second keyboard for the left hand, was not slow to take to the streets and then to penetrate to the most remote countryside. […] The same device that has decreed its success – the fixed flanking arrangements […] prevents the accordion for a long time to access the “great” music, until the day, relatively recently, when the possibility of dispensing with prepared agreements […] enables the analysis of all kinds of music writing. The fate of the accordion is not a unique case in the history of musical instruments, is also a phenomenon of great interest in ethnomusicology and sociology. The “cultural nomadism” of our tool and its ease in front of the social barriers, which, notoriously, has passed from the living rooms to the street, then go back from the dance motifs with concert halls, has the gift of tormenting some” [… ] but for other people is a great richness that makes it a unique musical instrument and very versatile.