It happened almost by chance. In fact, when I decided to work on the Missa a la Coronation, I didn’t have the Charles V centennial celebrations in mind, but we were later invited to perform in Spain on the occasion of that event. That was the start of our collaboration with our agent in Spain, and since then we have had the opportunity to go back to Spain quite regularly. Our new venture, entitled Libro de Horas de Isabel la Católica, was born out of my interest in the close links between the texts of the so-called Books of Hours and the polyphony of the period.

I imagine that behind all the music and concert programmes there must be many hours of study and research. How do go about the task?

I am usually the one to begin researching and transcribing works and then we work as a team, with different members of Odhecaton helping me on the project. The ensemble is made up of a permanent group of singers, the composition varying according to the requirements of each project. From an early age I have had an interest in the sacred polyphonic repertoire of the 15th and 16th centuries, particularly the Italian and Franco-Flemish masters working in Italy. I am in no doubt that the sound of the Italian Renaissance is in fact the Franco-Flemish sound. This should help to debunk what, for want of a better name, might be called the Italo-centric view that has traditionally held and led many of us to believe that the Renaissance was Italian. It is true that cities like Florence and Ferrara glory in an impressive Renaissance architecture that transports us to an atmosphere that is quite unique, but the music of that period in Italy is clearly an imported product.

Odhecaton has an unmistakable personality and style that it owes largely to you as founder and director. What is it that you hope to get across with your ensemble?