If one person has had a lasting influence on Félicien, it is undoubtedly his reference, the tremendous Richard Galliano. He listens to his albums, snaps up tickets to see him in concert whenever possible and then one day they met. This meeting was inevitably instrumental and is reflected in what Félicien says about Richard:

« Richard Galliano successfully continued the work opening up our instrument, bringing it to its highest level in styles as varied as French chanson, jazz and then classical. We owe him so much. »

By talking to his idol he ended up convinced of a need to review favourite accordion repertoire while promoting creation. He dreamed about this ‘piano with straps’bearing reference points, armed with its popular roots, a standard bearer for the longing for novelty unique to any art form.


Bartók, Grieg, Brahms and de Falla tapped into traditional repertoire to write so-called ‘high brow’ works. Popular accordion music, emerging from a remarkable blend of many cultures, is extraordinarily adaptable. 

« When I started out, I somewhat suffered from the lack of recognition regarding this instrument that is often considered old-fashioned or antiquated. Some people believe that accordion music is responsible for this image but this belief fails to acknowledge the attention it attracts. The accordion is popular as it is commonly associated with festive occasions in our lives and we owe this to accordion music or musette. I think it can now be said to be a symbol of reconciliation between highbrow and popular music. »