Some of the things I found most interesting:
1) His take on playing bourrées. This is something of a quest for me, and his explanation added great clarity to what I've heard and read.
2) The idea that he went through a process of adapting the repertoires of different instruments to the diatonic. It feels like, before Perrone and Blanchard, maybe there was no tradition of diato playing in France -- or it had passed away in favor of the CBA. It's actually a fairly new thing ... though it's approaching an ancient repertoire. I'm not saying no one played diato, I'm just saying there was a movement that began somewhat recently.
3) The modern/traditional dynamic. The duet with Chabenat and "Carnet de Bal" are pretty far apart. When he added bass and cittern (a rhythm section) to La Chavanée, they very suddenly sounded more modern. I wish I had asked about this.
4) His specific preference for 2-row-8-bass, and his reasons. I feel the same way.