Well, because it is kind of exceptional in this regard: Chopin is a quintessential composer for piano, relying to a good degree on its percussive qualities and differentiable attack strengths for structuring rhythmically and harmonically complex material. This prelude here works because there is a melody in the bass hand (where particularly a piano requires a lower density of notes than the usually more prominent treble parts could easily support) and a straightforward chord part in the treble that relies on the natural decay of the slow high notes to keep that side in the background. The accordion does not do this quite in style, but registration can keep the treble down, and Mooten does an excellent job of interrupting the chords so regularly on a single moment that the kind of structure this provides on the piano carries over well.
The problem with giving people one Chopin is that they then ask for another. In particular if what you gave them was a prelude. To what? On a different note, the prelude #1 from Bach's Well-Tempered Clavier is probably played more than 10 times more often in reality than the fugue #1 that it is the prelude to.
So you won't be seeing a "complete works of Chopin on accordion" anytime soon while there are at least some impressive complete renderings of the Well-Tempered Clavier (which does not rely on the specifics of the pianoforte and its dynamic-supporting hammer mechanics that was just starting to appear in Bach's lifetime).
