Accordionist Nikola Djoric has devoted himself to expanding the repertory for his instrument, and indeed, he indicates here that he came to the music of Bach well before that of Piazzolla, who wrote his nuevo tango music mostly for the bandoneón, a close relative of the accordion that is also known as the German concertina. An apparatus outlined in the booklet organizes the program around the year 1829, when Mendelssohn conducted Bach's St. Matthew Passion in Berlin and when an ancestor of the German concertina was first patented. This coincidence in itself doesn't do much to tie the music together, especially inasmuch as it is Bach harpsichord concertos, not the St. Matthew Passion, that are involved. Although Piazzolla's Concerto for string orchestra, bandoneón, and percussion is written in the traditional three-movement concerto form, and Djoric seems to have picked the Keyboard Concerto No. 7 in G minor, BWV 1058, for the syncopation-like anacrusis on which it is built, the Piazzolla comes as quite a lurch. Djoric's performance of the Piazzolla, however, is quite expressive, and it's good to have a fresh recording of the piece on an accordion; it is not recorded often on any instrument. Djoric states that no arrangement has been done here outside of transferring Bach to the accordion, but that's not quite true; he plays the Bach concertos without a continuo, and the slow movements sound a little bare. The piano that peeks out from various points in the Piazzolla concerto shows what might have been done with the Bach. The work of the Kurpfälzischer Kammerorchester is clean, however, and there's no denying that to hear Bach on the accordion is to hear him with fresh ears. Accordion fans will surely enjoy this release.