The groups involved in this enterprise come from diverse stylistic and performance backgrounds. They have all achieved considerable artistic success, have won numerous prestigious awards and maintain a high-profile presence at both a national and international level. The groups are: Luis Antonio González Marín’s Los Músicos de Su Alteza from Zaragoza; David Catalunya’s Canto Coronato from Barcelona; Vicente Parrilla’s More Hispano from Seville; Música Antigua (director: Eduardo Paniagua) from Madrid; Ensemble Solistas de Sevilla (Miguel Ángel Gris) from Seville; Orquesta Barroca de Sevilla (Ventura Rico and Pedro Gandía) from Seville; Música Reservata de Barcelona (Jordi Abello and Antoni Trigueros) from Barcelona; Il Concerto Accadémico (Margherita Marsaglia) from Alicante; Vespres d´Arnadi (Pere Saragossa) from Alicante; Grup Instrumental de Valencia (Joan Cerveró) from Valencia; La Caravaggia (Lluis Coll) from Barcelona; La Capilla Real de Madrid (Oscar Gershensohn) from Madrid; Forma Antiqva (Aaron Zapico) from Oviedo; Nova Lux Ensemble of the Pamplona Chamber Choir (David Guindano) from Pamplona; Entrequatre (Manuel Paz) from Oviedo; La Reverencia (Luis Alberto Gómez) from Albacete; Silvia Marquez’s La Tempestad from Murcia; Marisa Esparza’s Estil Concertant from Valencia.

The Association’s statutes and founding charter were approved on 29 April this year and the Association is already a member of the National Register of Associations. The board of management is comprised of: Oscar Gershensohn (President); Miguel Ángel Gris (Vice-president); Nona Arola of Seville’s Orquesta Barroca (Secretary); Ignacio Iturrarte from Pamplona’s Coral de Cámara-Nova Lux (Treasurer); Pere Saragossa and Luis Antonio González Marín (Ordinary members).The association’s official name is - Asociación Española de Grupos Instrumentales y Vocales Especializados, AEGIVE - and its creation underlines the drive and interest that has clearly been shown over recent years by specialist ensembles, and the commitment they wish to make to the growth of music in Spain.

These vocal and instrumental groups, who carry out their work with very little or no public funding, consider their efforts to be fundamental to the performance of a musical repertoire that encompasses eight centuries. And they believe their work is essential if Spain’s historical musical patrimony is to be performed and made known. Similarly, the greater part of the contemporary repertoire will not be popularized without the presence of these groups.

These specialist groups believe that Spain must also recognize their cultural importance. This has happened in other European countries where the national administration resolutely supports the activities of such groups, and their specific qualities are considered to be an essential element in the development and diffusion of music.

Paradoxically, while our own specialist groups receive no government support, foreign specialist groups are consistently engaged in Spain whilst in receipt of funding from their own governments. One of the Association’s primary aims is to enhance the stability and professional standing of such groups, which it is hoped will lend them a more competitive edge. A second aim is to promote a higher profile for such specialist groups within the programming of the various seasons, cycles and festivals celebrated throughout the country.

The Association also wishes to engage in dialogue with the various administrative bodies, so as to promote a deeper understanding of the specific nature of the work. It also needs to collaborate with those that drive the cultural politics that determine the profile of Spanish musical patrimony, both historical and contemporary, in the programming of classical music.Associations of this type have sprung up in various European countries over the last few years. The French association was started in 1999 with six members; it now handles ninety groups.

At the moment Spain has some one hundred and fifty specialist groups, and the Association was founded with the intention of providing support for any group that is interested in participating. To this end in recent weeks we have been promoting our aims and inviting groups to sign up to the initiative.

The Association is shortly to get together with the Instituto Nacional para las Artes Escénicas y de la Música -INAEM- and together with the officers for cultural affairs from Spain’s various autonomous communities it has set up its first initiatives, which will be announced in September