He began a series of recordings of all Bach cantatas with singers performing one voice per part and the Montreal Baroque Orchestra.
He made several recordings as instrumentalist and conductor of vocal music, conducting from the keyboard instrument in Baroque practice.
A reviewer noted the performances evoked a certain "flavour of secrecy", fitting music that was "underground" at the time of creation, with little variation in dynamic and tempo.
[3] A reviewer noted his recordings of four Bach cantatas with singers in OVPP fashion and the Montreal Baroque Orchestra, as part of a planned cycle of the works,[4] induced "animated, stylistically assured playing" with "a sure feel for tempo and Bachian rhetoric".
[5] Another part of the series, called Cantatas for Mary, and presenting Herz und Mund und Tat und Leben, BWV 147, Ich habe genug, BWV 82, and Wie schön leuchtet der Morgenstern, BWV 1, was reviewed as enlightening, with soloists "whose stylish, energetic singing is a pure joy to hear" and an orchestra with warm, articulate strings and brilliantly resonant trumpet and horns.