He was a member of the 1949 Vienna viola da gamba quartet, a select group of musicians that included Alice and Nikolaus Harnoncourt and the harpsichordist Gustav Leonhardt.
He performed and recorded more than 200 works from the mid 17th through the late 18th centuries with his ensemble Capella Academica Wien, or the French harpsichordist Huguette Dreyfus.
In his time, he tapped a worldwide audience before being replaced as a violin soloist by a new wave in the revival of historically informed baroque period performance.
1760, while the rest of his ensemble, the Cappella Academica Wien, played on far more expensive Italian instruments borrowed from the Vienna Akademie fur Musik and restored to resemble their original conditions.
It is a pity because, despite his less "authentic" sound, the recordings of the 1965-1971 period reveal in his playing what is lacking in most players today: an instantly recognizable personal sound and style, and most significantly, an enthusiasm for embellishing music in ways that more contemporary period players seldom attempt, but their 18th-century forebears did without question; in that sense, he is more "historical" than they—and to some listeners, more exciting.