In 1987 she made her first recording, and has made to date six full-length productions , a survey of Sonatas by Mozart, played on the Viennese early piano (custom-made for her by Johannes Secker); a series of Suites by Couperin on a Frank Hubbard French double-manual harpsichord; a unusual recording of music especially designated for an Italian-style harpsichord; and various recordings of music by Haydn, J. C. Bach, J. S. Bach. One of her most successful recordings is a performance of duo music of the early nineteenth century, using a restored square piano from the 1820's of rarely-heard pieces for early guitar and piano with Clive Titmuss. She is one of only a handful of BC artists with such a discography still available to students and the public.

Moving to Kelowna, she established and cultivated a web presence by beginning one of the first downloadable music websites for early music in the country. With the advent of mobiles and streaming her recordings have reached a new audience. She has proven to be prescient and persistent in monitoring the public appetite for early music in Canada.

She commissioned the restoration of early pianos by Bechstein, Erard, and Collard: and a particularly spectacular grand, made by John Broadwood in London in 1809. This is the same model that Broadwood sent as a gift to Beethoven in 1815; it quickly became his favourite, shaping the sounds heard in his landmark sonatas in unexpected ways.

As a continuo player, she has worked with the Calgary Philharmonic, the Handel Society of Vancouver and the Kamloops and Okanagan Symphonies, and has become principal continuo player for the Okanagan Festival Singers, playing for the last six years in the biennial performance of Handel's Messiah and Bach's Christmas Oratorio.

Broadwood Grand Pianoforte 1809