{"id":1129,"date":"2020-09-25T00:49:52","date_gmt":"2020-09-24T22:49:52","guid":{"rendered":"https:\/\/teresacatalan.com\/?page_id=1129"},"modified":"2020-09-25T00:51:57","modified_gmt":"2020-09-24T22:51:57","slug":"reviews","status":"publish","type":"page","link":"https:\/\/teresacatalan.com\/?page_id=1129&lang=en","title":{"rendered":"Reviews"},"content":{"rendered":"\n
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\r\n Teobaldos DIARIO DE NOTICIAS DE NAVARRA. May 2026<\/span>\r\n \r\n <\/i><\/span>\r\n <\/i><\/span>\r\n <\/span>\r\n <\/div>\r\n
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There are concerts in which the orchestra\u2014replenished and opulent\u2014imbues the listener and shakes them with particularly immersive and grandiose sonorities; also, surprising, piercing, and meditative ones. This was the case in the concert at hand. The three programmed works (from the 19th, 20th, and 21st centuries) brilliantly handle the large orchestra. In recent years, we have followed Teresa Catal\u00e1n in her creative process, which has currently reached a splendid mastery of the large orchestral form. Her \u201cDanza de la princesa\u201d<\/i>, conceived as a ballet, already surprised us very favorably at its premiere, and we also saw it performed with the intimate choreography of Jean-Philippe Dury; therefore, it already has a history, and today, heard anew, it consolidates itself and stands shoulder-to-shoulder with the great repertoire. Possessing a great timbral richness and a flowing orchestration, Perry So's version was frankly convincing, drawing out the magnificent contrast in the relationship between the solos and the tutti<\/i> with a brilliant result.<\/p>\n <\/div>\r\n \r\n

\r\n Xabier Armend\u00e1riz DIARIO DE NAVARRA. May 2026<\/span>\r\n \r\n <\/i><\/span>\r\n <\/i><\/span>\r\n <\/span>\r\n <\/div>\r\n
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La danza de la Princesa<\/i> (The Princess's Dance) by Teresa Catal\u00e1n\u2026 clearly demonstrates the main characteristics of her style, which is always charged with harmonic tension yet without systematically resorting to avant-garde procedures and without forgetting the importance of lyrical sections\u2026 The powerful orchestral opening, led by the brass, commands attention from the very start, but the subsequent development is varied and keeps the audience engaged\u2014most especially when featuring an orchestra well-prepared by a conductor as motivated and knowledgeable as Perry So.<\/p>\n <\/div>\r\n \r\n

\r\n Teobaldos. DIARIO DE NOTICIAS. July 2025<\/span>\r\n \r\n <\/i><\/span>\r\n <\/i><\/span>\r\n <\/span>\r\n <\/div>\r\n
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\u2026 And above all, the long-awaited premiere of Teresa Catal\u00e1n. I\u2019ve been following the composer from Pamplona, who has been quite active lately, and I admire, among other things, her orchestration\u2014the mastery of the large instrumental ensemble. In front of the chamber choir, Teresa does not shy away from the irruption of the freest and most innovative elements (as in the beginning), nor from the harmonic fabric that interweaves the voices. Nere maitia<\/em> bursts forth with a harsh soprano entrance (perhaps representing birth), which jolts us and puts us on alert. Then everything calms down, always within that magma of harmonic clashes that, nonetheless, sounds very clear, even though one can sense how tricky it must be for the choir to sustain. The choir responds very well, and manages to draw us into that atmosphere where lyricism, melodic phrasing, and so on coexist\u2014but without losing the sense of innovation, in her full style. At the same time, she remains within the tradition of her teachers (Remacha).<\/p>\n <\/div>\r\n \r\n

\r\n Arturo Reverter. May 2024<\/span>\r\n \r\n <\/i><\/span>\r\n <\/i><\/span>\r\n <\/span>\r\n <\/div>\r\n
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Teresa Catal\u00e1n (Pamplona, 1951) is one of the most prominent, accomplished, and cultured figures in our musical landscape. Her concerto for flute and orchestra, El canto de Atenea<\/em>, premiered at Baluarte in Pamplona in October 2021, is a work of great beauty. She was awarded the National Music Prize in 2017 and the Pr\u00edncipe de Viana Prize in 2021. In 2024, she will premiere Azul<\/em> with the National Orchestra. A student of, among others, Ram\u00f3n Barce, Agust\u00edn Gonz\u00e1lez Acilu, Franco Donatoni, George Benjamin, and Luigi Nono, her talent led her to follow a highly personal path, beginning with a softened form of atonalism and a remarkable gift for coloring musical textures. Her music is marked by balance and refined taste.<\/p>\n <\/div>\r\n \r\n

\r\n Xabier Armend\u00e1riz. DIARIO DE NAVARRA. March 2024<\/span>\r\n \r\n <\/i><\/span>\r\n <\/i><\/span>\r\n <\/span>\r\n <\/div>\r\n
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The first part ended with \"La victoria vac\u00eda\" by Teresa Catal\u00e1n... Catal\u00e1n's orchestral palette is very rich, and the Navarra Symphony Orchestra delivered a great performance of what is surely one of the best works of the Elcano Project.<\/p>\n <\/div>\r\n \r\n

\r\n Teobaldos. DIARIO DE NOTICIAS. May 2024<\/span>\r\n \r\n <\/i><\/span>\r\n <\/i><\/span>\r\n <\/span>\r\n <\/div>\r\n
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The composer from Pamplona masters orchestration, takes advantage of the \"grand form,\" and even with the jolts of bursts over extreme basses and the somewhat unsettling atmospheres of her Empty Victory<\/em>, everything becomes clear and understandable. The work keeps you on edge, the percussion is martial, and the fading piano nuance at the end is truly beautiful: somewhat sad, of course, when victory is empty.<\/p>\n <\/div>\r\n \r\n

\r\n Mar\u00eda Jos\u00e9 Cano. EL DIARIO VASCO. May 2022<\/span>\r\n \r\n <\/i><\/span>\r\n <\/i><\/span>\r\n <\/span>\r\n <\/div>\r\n
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\u2026Immaculately crafted, Catalan's 'La victoria vac\u00eda' hooked us due to its structural and thematic solidity and its personal style, in which the composer's control of the orchestra's sonority became evident, reflected, among other things, in her ability to draw timbre and dynamic contrasts. It was a subtle tribute to the disappeared with a delicate ending.<\/p>\n <\/div>\r\n \r\n

\r\n Teobaldos. DIARIO DE NOTICIAS. May 2022<\/span>\r\n \r\n <\/i><\/span>\r\n <\/i><\/span>\r\n <\/span>\r\n <\/div>\r\n
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La Victoria Vac\u00eda\u2026 Catal\u00e1n succeeds in its rich orchestration; he makes use of a wide organic and makes the most of it... All with a fluidity and a logic that makes the great timbre contrasts absolutely coherent. Controlling and navigating the orchestral mass with such clarity certainly shows excellent work.<\/p>\n <\/div>\r\n \r\n

\r\n Alondra de la Parra. BECKMESSER. October 2021<\/span>\r\n \r\n <\/i><\/span>\r\n <\/i><\/span>\r\n <\/span>\r\n <\/div>\r\n
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\u2026 Teresa Catal\u00e1n's music has the ability to break down barriers, touch the soul and establish a sense of community.<\/p>\n <\/div>\r\n \r\n

\r\n Teobaldos. DIARIO DE NOTICIAS. October 2021<\/span>\r\n \r\n <\/i><\/span>\r\n <\/i><\/span>\r\n <\/span>\r\n <\/div>\r\n
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\u2026 The texture and color of the low flute are delicious; they rule over everything, they even dominate and calm the sudden outbursts of the percussion. Beautiful contrast between the serenity of the flute and the orchestral violence. Everything contributes to following the evolution of the work with great attention.<\/p>\n <\/div>\r\n \r\n

\r\n Xabier Armend\u00e1riz. DIARIO DE NAVARRA and REVISTA RITMO. October 2021<\/span>\r\n \r\n <\/i><\/span>\r\n <\/i><\/span>\r\n <\/span>\r\n <\/div>\r\n
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\u2026Thus, the 2021-2022 season of the Navarra Symphony has started with a concert of great interest. With El canto de Atenea, Teresa Catal\u00e1n continues to establish herself as one of the main figures of current composition in Spain.<\/p>\n <\/div>\r\n \r\n

\r\n Arnoldo Liberman. RITMO. April 2020<\/span>\r\n \r\n <\/i><\/span>\r\n <\/i><\/span>\r\n <\/span>\r\n <\/div>\r\n
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Today I am going to talk about an artista, an interpreter of herself, of the being called to spell out her interior alphabet, pass through her own inner ghosts, try to be witness to what we don\u00b4t see, make us hear what we don\u00b4t hear, that being that can separate from herself to concentrate on herself, that being who stretches out her hand to darkness to capture hidden reality, this path through the keyboard with confronts unresolved enigmas, this being which know about the \u201cyes, yes, no, no\u201d which Emmanuel Levin referred to as the reason for living, this being who should have the capacity to have one hand attached to the anchor and the other tothe sail; Her name is Teresa Catalan, and she just summed up the creative journey of her life in a CD that runs a bridge from the 1990s to 2018.<\/p>\n

\u2026Catal\u00e1n writes for the keyboard with a passion that drags un into the abandon of the circumstantial, to the underside of mystery, to drag us into \u201cthe primary reason of existence\u201d, there, where nothing is defined or dissolved\u00a0 in concept, there, were our language is useless for depicting it, there where \u2013 and forgive me for emphasizing this \u2013 sentiment is the sentiment of the sentiment, that which makes us ask existential questions.<\/p>\n

\u2026Teresa Catal\u00e1n treats the question as the call to mystery as her principal vertebration, like that next to last attempt to give life to what doesn\u00b4t have it, that which is intent on hanging on to that which is ungraspable, that which drags us into the enigma which we essentialy are.<\/p>\n <\/div>\r\n \r\n

\r\n Alejandro Santini Dupeyr\u00f3n. MEL\u00d3MANO Num. 262. May 2020<\/span>\r\n \r\n <\/i><\/span>\r\n <\/i><\/span>\r\n <\/span>\r\n <\/div>\r\n
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\u2026A piano with a complicated language while at the same time accessible and close, a poetic seducer, beautiful and enriching. I emphasize these terms because in beauty resides the part of the inherent magic of music; and because every contribution of Teresa Catal\u00e1n to her latest proposal is enriching and in the trans course of her ambitious project of \u201cmaking the world dream\u201d, such is her ethic commitment.<\/p>\n

Dedications are often written at the front of publications, solemn tags that accompany the luster of eternal oath, sonorous frameworks capable of expressing with the power of modernity but also timeless, contemporary and classic all at once. If one had to condense the essence of Teresa Catal\u00e1n\u00b4s musical language, that could be the formula.\u00a0 Her work seemingly does not expire nor does it evoke nostalgia for past sounds.<\/p>\n <\/div>\r\n \r\n

\r\n Lluis Trull\u00e9n. REVISTA MUSICAL CATALANA. 12th April 2020<\/span>\r\n \r\n <\/i><\/span>\r\n <\/i><\/span>\r\n <\/span>\r\n <\/div>\r\n
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\u2026Teresa Catal\u00e1n\u00b4s music expressed a particular magnetism, a curious harmonic treatment that is already cement to the crystalline notes of red poppy, all confessing a detailed music that avoids unnecessary virtuosity. Catal\u00e1n strips her message of all that could be superfluous. She doesn\u00b4t look for effect, but purity. She completely abandones virtuosity to create balanced textures and sonorities.\u00a0\u00a0 Her style allows her to tap into the subtle delicacy offered by the Prelude no. 4 of Chopin to create paraphrases or express complete serenity with the Elegies, with notes that appear almost naked, with sonorities that are rarely immersed in forte. The microform, the brevity of the work, becomes a means to express a music that does not support developments, a pure, meticulous music, which delves into slowness and serenity, akin to a conceptual aesthetic with the plastic work. by Jos\u00e9 Mar\u00eda Yturralde illustrating the cover of the recording.<\/p>\n <\/div>\r\n \r\n

\r\n ORQUESTA SINF\u00d3NICA DE NAVARRA. March 2020 <\/span>\r\n \r\n <\/i><\/span>\r\n <\/i><\/span>\r\n <\/span>\r\n <\/div>\r\n
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The premiere of an orchestral score of Teresa Catal\u00e1n is a big event for our orchestra. A tireless, explorer of sonorous effects and interplay of textures, always in the service of an more refined expression with a profound knowledge of the orchestra, in all her work she transmits a brave and original personality that puts her at the most interesting Vanguard of Spanish Composition.\u00a0 (online<\/a>)<\/p>\n <\/div>\r\n \r\n

\r\n Albert Ferrer Flamarich. REVISTA MUSICAL CATALANA. 31st january 2020 <\/span>\r\n \r\n <\/i><\/span>\r\n <\/i><\/span>\r\n <\/span>\r\n <\/div>\r\n
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\u2026Sota traces m\u00e9s depurades i de resultats m\u00e9s minimalistes, Rond\u00f3 para un Mayorazgo per a flauta solista de la navarresa Teresa Catal\u00e1n (1951) es presentava com una obra musculosa, ben proporcionada i exigent en les textures, atesos els divisi de la corda i els passatges homorr\u00edtmics.<\/p>\n <\/div>\r\n \r\n

\r\n Roger Alier. PLATEA MAGAZINE. 29th january 2020<\/span>\r\n \r\n <\/i><\/span>\r\n <\/i><\/span>\r\n <\/span>\r\n <\/div>\r\n
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The Conductor led the different passages of Clara Wieck\u00b4s concerto with grace and knew how to impose the correct pulse for the various intensities of Teresa Catal\u00e1n\u2019s work, with a language that was modern but absolutely pleasant to the ear.<\/p>\n <\/div>\r\n \r\n

\r\n Teobaldos. DIARIO DE NOTICIAS. 3rd november 2019 <\/span>\r\n \r\n <\/i><\/span>\r\n <\/i><\/span>\r\n <\/span>\r\n <\/div>\r\n
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\u2026Teresa Catal\u00e1n has arrived at an exquisite refinement and a distillation of clear purity \u2013 her works for piano, or her songs, for example, are delicious\u2026<\/p>\n <\/div>\r\n \r\n

\r\n Xabier Armend\u00e1riz. DIARIO DE NAVARRA. 2nd september 2019 <\/span>\r\n \r\n <\/i><\/span>\r\n <\/i><\/span>\r\n <\/span>\r\n <\/div>\r\n
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\u2026Within its specialized series, the Musical Fortnight of San Sebastian counts on a well-known contemporary music cycle (programming)\u2026They offered a first concert of Larrazpileko jentilen trikuharritik byTeresa Catal\u00e1n, which they commissioned the composer from Navarro for this festival.\u00a0 In it, Catal\u00e1n offered a mysterious and atavistic character, like a force of Nature.<\/p>\n <\/div>\r\n \r\n

\r\n Pablo Siana. LA M\u00daSICA EN SIANA. 4th august 2019 <\/span>\r\n \r\n <\/i><\/span>\r\n <\/i><\/span>\r\n <\/span>\r\n <\/div>\r\n
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\u2026And always, our Teresa Catal\u00e1n to overflow with energy with her Danza of (vermell) joy, a pianistic joy, musical, poetic, kaleidoscopic in dynamics, vigour, light and color in an evening for enjoying between friends and in which nothing was accidental.\u00a0(online<\/a>)<\/p>\n <\/div>\r\n \r\n

\r\n Nuria Ruiz de Vi\u00f1aspre. http:\/\/ellascrean.com\/oximoron-musical\/. 4th april 2018<\/span>\r\n \r\n <\/i><\/span>\r\n <\/i><\/span>\r\n <\/span>\r\n <\/div>\r\n
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\u2026With an accustomed ear, one hears certain echos of Shostakovich, Berio, Bernaola or of her so admired Cage in her music.\u00a0 There is in Catal\u00e1n a clear tendency towards atonality, but always coming from tonality.\u00a0 From there the change of a line to another is at times so subtle and many other inaudible, because in those cases her music is so precise that is requires ears that are educated in the atonal line.\u00a0 But what is clear is that if something is Teresa Catal\u00e1n it is Teresa Catal\u00e1n.\u00a0 She is unmistakable until she chooses to confuse us. This her brand, her harmonic treatment.\u00a0 The eternal dialogue between atonal and (tonal). Navegating these waters, approaching them is none other than to be another opposite, another oxymoron.<\/p>\n

\u2026I will finish with a phrase from the composer\u00b4s own mouth que we should not lose sight of (arts education), losing track of it would be overwhelming and terrible for our current society. A society without education dies, but without arts education ceases to dream.<\/p>\n <\/div>\r\n \r\n

\r\n Teobaldos. DIARIO DE NOTICIAS. 25th march 2017<\/span>\r\n \r\n <\/i><\/span>\r\n <\/i><\/span>\r\n <\/span>\r\n <\/div>\r\n
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In the well-deserved homage to Teresa Catal\u00e1n organized by the solid (music) cycle of MUN, they gave a shallow but fundamental review of the contribution of the Professor and Composer in her world of Music, Creating, Divulgation (promotion) and Pedagogy, beginning with some biographical information. But without a doubt, the best homage was coming back to her music that, the more it was interpreted, the more we liked it.<\/p>\n

Aldonza and Cr\u00e9sida (2015) is a delight with the atmosphere created in part by the high setting of the piano, which shows the special care with which the composer treats these special female Cervantine and Shakespearian characters. The second part consisted of the Ballet, The Dance of the Princess, a frankly beautiful score, with all the rich sounds needed for a Grand Ballet.<\/p>\n <\/div>\r\n \r\n

\r\n Teobaldos. DIARIO DE NOTICIAS. 12th march 2016<\/span>\r\n \r\n <\/i><\/span>\r\n <\/i><\/span>\r\n <\/span>\r\n <\/div>\r\n
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\u2026 El rapto de Europa, the five scores which comprise this Ballet, emerge us in a beautiful and understandable Vangard, without renouncing tradition, even in some fragments, like the seduction fragment, for example.\u00a0 I don\u00b4t know if it was because of the superbe interpretation of the work with its appreciated organic (approach), or the actual education of our ear for such works- surely for all of the above- but the musical composition won out as time passed; the best thing one can say about a work of art.\u00a0 That is to say, it was a musically impeccable concert, of beautiful timbre and chamber ensemble, really enjoyable and evocative.<\/p>\n <\/div>\r\n \r\n

\r\n Xabier Armend\u00e1riz. DIARIO DE NAVARRA. 12th march 2016<\/span>\r\n \r\n <\/i><\/span>\r\n <\/i><\/span>\r\n <\/span>\r\n <\/div>\r\n
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The best thing one can say about he ensemble (piece) 30 years after its composition, it that not only did it not age, but now it seems more current than when it was presented to the public in the 80s.<\/p>\n <\/div>\r\n \r\n

\r\n Xabier Armend\u00e1riz. DIARIO DE NAVARRA. 9th february 2015<\/span>\r\n \r\n <\/i><\/span>\r\n <\/i><\/span>\r\n <\/span>\r\n <\/div>\r\n
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Less than a month ago, Teresa Catal\u00e1n, the composer, gave a conference in the Mediatic City of Music Complex in Pamplona. In that act, created principally for Composition students of the Superior Conservatory, the illustrious composer offered some advice, among which she repeated time after time.\u00a0 Composers should seek their own voice. It isn\u00b4t about writing during each moment in the style that is most in successful at the time, because styles pass and only authenticity is permanent and constant.<\/p>\n <\/div>\r\n \r\n

\r\n Teobaldos. DIARIO DE NOTICIAS. 15th april 2014<\/span>\r\n \r\n <\/i><\/span>\r\n <\/i><\/span>\r\n <\/span>\r\n <\/div>\r\n
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The work breathed fluidity, with an architecture full of science and mystery, and a dazzling timbre.\u00a0 (It) is still pleasing, (it) has a certain return to tonality and lyric passages and uses things inherited from the XX century, hardly insinuated and well fit into the discourse.<\/p>\n <\/div>\r\n \r\n

\r\n Mikel Chamizo. GARA. 12th april 2014<\/span>\r\n \r\n <\/i><\/span>\r\n <\/i><\/span>\r\n <\/span>\r\n <\/div>\r\n
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Catal\u00e1n proposes a relatively classical score, but with passages that have great energy and effective colore.\u00a0 Emerging in her poetic world\u2026<\/p>\n <\/div>\r\n \r\n

\r\n Teresa Albero. EL DIARIO VASCO. 8th april 2014<\/span>\r\n \r\n <\/i><\/span>\r\n <\/i><\/span>\r\n <\/span>\r\n <\/div>\r\n
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The two works chosen by the OSE to start the concert were exquisite and superb. The first of those, \u201cPrinzesaren Dantza\u201d written by Teresa Catal\u00e1n, displayed numerous orchestral techniques (means) and an entire sonorous world that highlighted the orchestra\u00b4s own personality.\u00a0 A work to keep in mind for the orchestras coming programming for its quality composition with denotes the great knowledge of the instrumental world that the composer has.<\/p>\n <\/div>\r\n \r\n

\r\n Francisco Mesa. DIARIO BAH\u00cdA DE C\u00c1DIZ. 1st december 2013<\/span>\r\n \r\n <\/i><\/span>\r\n <\/i><\/span>\r\n <\/span>\r\n <\/div>\r\n
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Teresa Catal\u00e1n displayed with \u201cSine Die\u201d a refined compositional work.<\/p>\n <\/div>\r\n \r\n

\r\n Emiliano Allende. EL NORTE DE CASTILLA. 11th march 2013<\/span>\r\n \r\n <\/i><\/span>\r\n <\/i><\/span>\r\n <\/span>\r\n <\/div>\r\n
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In Teresa Catal\u00e1n\u2019s Works there is a palpable refined style, based on contrast between grave tumult and slow meditation, broken always by a fury that grows in the ostinato, in search of new timbric input.<\/p>\n <\/div>\r\n \r\n

\r\n NEUE NOTEN. Fl\u00f6te aktuell, 2012 (pag. 59)<\/span>\r\n \r\n <\/i><\/span>\r\n <\/i><\/span>\r\n <\/span>\r\n <\/div>\r\n
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El P\u00e1jaro de Estinfalo. Flauta y piano\u2026 Certainly a very interesting composition that thrives on effects, timbres, dynamic variety and surprising twists, with which the scary birds of Arkadines, which Heracles were supposed to kill and drive away, are brought to life.<\/p>\n <\/div>\r\n \r\n

\r\n Paco Mesa. DIARIO BAH\u00cdA DE C\u00c1DIZ. 24th november 2010<\/span>\r\n \r\n <\/i><\/span>\r\n <\/i><\/span>\r\n <\/span>\r\n <\/div>\r\n
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The work, \u201cEsparzas\u201d of Teresa Catal\u00e1n dosifies the materials with criteria in a long composition\u2026with an impressive start with acapella voice and an intelligent and imaginative orchestration.<\/p>\n <\/div>\r\n \r\n

\r\n Jos\u00e9 Luis Nieto. 12 NOTAS. October \u2013 november 2004<\/span>\r\n \r\n <\/i><\/span>\r\n <\/i><\/span>\r\n <\/span>\r\n <\/div>\r\n
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\u2026 This book is, without a doubt, one of the most elaborate and useful texts to appear recently in Spain. As a result of the persistence and patient work over several years of its author -composer and professor of Composition-, this volume will allow us to get closer to clearly understanding the internal mechanisms and relationships of different systems of tempered composition in the century XX. Raised as a study of the bases that make up the musical system itself (without assessing influences of another type such as social or aesthetic), it rigorously addresses those principles that determine the identity and particularities of different compositional approaches.<\/p>\n <\/div>\r\n \r\n

\r\n \u00c1lvaro Zald\u00edvar. MEL\u00d3MANO. June 2004<\/span>\r\n \r\n <\/i><\/span>\r\n <\/i><\/span>\r\n <\/span>\r\n <\/div>\r\n
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\u2026 The two very special master classes by this illustrious teacher that are now being spread around the world\u2026 are a magnificent book, Tempered Compositional Systems in the 20th Century, and a no less splendid CD, Teresa Catal\u00e1n. Chamber Work ...<\/p>\n

\u2026 Teresa Catal\u00e1n's work \"is an example of a careful, elaborate and scientifically irreproachable investigation. But above all it is an act of artistic courage and honesty\". For our part, we add again that it is also a master class that demonstrates how good teachers always teach, wherever they are at all times, and they educate fruitfully from all the initiatives in which they take part.<\/p>\n <\/div>\r\n \r\n

\r\n 12 NOTAS. April \u2013 may 2004<\/span>\r\n \r\n <\/i><\/span>\r\n <\/i><\/span>\r\n <\/span>\r\n <\/div>\r\n
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This album hides a history of those that do not abound, that of a passion for music.<\/p>\n <\/div>\r\n \r\n

\r\n Ram\u00f3n Barce. Concert program. Sala Luis Galve, Zaragoza. 17th march 2004<\/span>\r\n \r\n <\/i><\/span>\r\n <\/i><\/span>\r\n <\/span>\r\n <\/div>\r\n
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\u2026 I suppose that since you have had such an excellent teacher and composer, Teresa Catal\u00e1n, you will have understood that the more you know, the better one develops in musical creation. Some say that it is better not to study anything to be more original. Do not trust that: it is a nonsense that very often only leads to discovering (small seas).<\/p>\n <\/div>\r\n \r\n

\r\n Jos\u00e9 Luis Garc\u00eda del Busto. ABC. 20th february 2004<\/span>\r\n \r\n <\/i><\/span>\r\n <\/i><\/span>\r\n <\/span>\r\n <\/div>\r\n
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I now receive a splendid book (Compositional systems tempered in the twentieth century) and it is its author Teresa Catal\u00e1n\u2026 Here is this essay that studies very significant proposals of contemporary music\u2026 Works like that of Catalan are not only useful, but also improve \u2013because they enrich it- the image of our musicology.<\/p>\n <\/div>\r\n \r\n

\r\n Alicia Ezker. DIARIO DE NOTICIAS. 11st january 2004<\/span>\r\n \r\n <\/i><\/span>\r\n <\/i><\/span>\r\n <\/span>\r\n <\/div>\r\n
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The characteristic of color that makes Catalan's works more easily recognizable is perhaps the harmonic treatment since from the beginning it has remained very firm in the search for harmonic fabrics neither tonal nor atonal.<\/p>\n <\/div>\r\n \r\n

\r\n Leopoldo Honta\u00f1\u00f3n. ABC. 5th august 2002<\/span>\r\n \r\n <\/i><\/span>\r\n <\/i><\/span>\r\n <\/span>\r\n <\/div>\r\n
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To begin with what was of special interest, the \u201cPamplonian\u201d composer and pedagogue Teresa Catal\u00e1n who had a great deal with the premiere of her duo for harp and flute \"L\u00edmite infinito\", the result of a commission from the Santander Festival itself. Deserved success, no doubt. Because, supported by an instrumental treatment as refined as appropriate to each voice, it manages to articulate, in the barely eight minutes of the new page, a logical and attractive \"continuum\", based on a personal (Methodism) that reconciles, in dialogical succession, introversion and abandon. Big success.<\/p>\n <\/div>\r\n \r\n

\r\n Juan A. Gord\u00f3n. EL HERALDO DE ARAG\u00d3N. 20th april 2002<\/span>\r\n \r\n <\/i><\/span>\r\n <\/i><\/span>\r\n <\/span>\r\n <\/div>\r\n
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Teresa Catal\u00e1n, in addition to carrying out an intense teaching task at the Conservatory, is considered one of the most interesting and prestigious contemporary composers on the current scene, not only in Spain, but also in many other countries.<\/p>\n <\/div>\r\n \r\n

\r\n Isaac Lahoza. MUNDO CL\u00c1SICO. 19th september 2000. Year III Number 456<\/span>\r\n \r\n <\/i><\/span>\r\n <\/i><\/span>\r\n <\/span>\r\n <\/div>\r\n
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Along with the already named interpretation of Benjamin's work, it was with the composition \u201cViaje a C\u00f3lquida\u201d of Catal\u00e1n that we enjoyed the best moments. Based on the ancient Greek myth, this composer, born in Pamplona, \u200b\u200bbuilds a work full of effects, sound and textural complexities but within a vitalism and musicality that excited the public. It achieves a perfect balance between constructive complexity and sonic simplicity that give the work a great quality.<\/p>\n <\/div>\r\n \r\n

\r\n Isaac Lahoza. MUNDO CL\u00c1SICO. 19th september 2000. Year III Number 456<\/span>\r\n \r\n <\/i><\/span>\r\n <\/i><\/span>\r\n <\/span>\r\n <\/div>\r\n
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Of all of them, it is worth highlighting\u2026 Teresa Catal\u00e1n's \u201cFirst Toy\u201d for its beauty, although it was built with important technical difficulties, since it is composed of three voices.<\/p>\n <\/div>\r\n \r\n

\r\n Jos\u00e9 L. Galiana Gallach. LEVANTE. 11th june 2000<\/span>\r\n \r\n <\/i><\/span>\r\n <\/i><\/span>\r\n <\/span>\r\n <\/div>\r\n
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The lied \u2013Hom fora seny-, performed with great virtuosity\u2026 was without a doubt the most aesthetic moment of the evening. Voice and piano traveled with understanding, in a cohesive way, using with ease and expressive force a truthful, resounding and brilliant atonal language.<\/p>\n <\/div>\r\n \r\n

\r\n Teobaldos. DIARIO DE NOTICIAS. 16th november 1999<\/span>\r\n \r\n <\/i><\/span>\r\n <\/i><\/span>\r\n <\/span>\r\n <\/div>\r\n
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Teresa Catal\u00e1n is a restless person in the world of composition, she distills her findings until she offers us music that is austere in form, but rich in content and brilliant.<\/p>\n <\/div>\r\n \r\n

\r\n Jos\u00e9 A. Gord\u00f3n HERALDO DE ARAG\u00d3N. 26th august 1999<\/span>\r\n \r\n <\/i><\/span>\r\n <\/i><\/span>\r\n <\/span>\r\n <\/div>\r\n
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In its VI edition, the Veruela International Composition Course has reached definitive consolidation and recognition within the current musical scene ... Teresa Catal\u00e1n, who has seen how a project that a priori seemed very risky has established itself as one of the inevitable appointments of the cultural summer.<\/p>\n <\/div>\r\n \r\n

\r\n Carlos G\u00f3mez Amat. EL MUNDO on internet. 22th july 1998<\/span>\r\n \r\n <\/i><\/span>\r\n <\/i><\/span>\r\n <\/span>\r\n <\/div>\r\n
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A veritable party of Spanish premieres\u2026 interesting dialogue and creative animation in the Rond\u00f3 para un Mayorazgo, for flute and string, by Teresa Catal\u00e1n, with an excellent solo performance by M\u00aa Antonia Rodr\u00edguez.<\/p>\n <\/div>\r\n \r\n

\r\n Enrique Franco. EL PA\u00cdS. 21th july 1998<\/span>\r\n \r\n <\/i><\/span>\r\n <\/i><\/span>\r\n <\/span>\r\n <\/div>\r\n
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Rondo para un Mayorazgo provokes more than applause: the desire to listen to it again ... Teresa Catal\u00e1n's score objectifies in sounds how many suggestions are provoked \u00a0from the painting and it becomes a balanced succession, rich in linear and polyphonic invention and great power affective.<\/p>\n

A new generation, different, devoid of prejudices, followers of the paths opened by their elders of the fifties and radically universalist, comes to the fore in Spanish musical creation.<\/p>\n

Una generaci\u00f3n nueva, distinta, carente de prejuicios, seguidora de caminos abiertos por sus mayores de los a\u00f1os cincuenta y radicalmente universalista, accede al primer plano de la creaci\u00f3n musical espa\u00f1ola.<\/p>\n <\/div>\r\n \r\n

\r\n Jos\u00e9 Luis Garc\u00eda del Busto. ABC. 21th july 1998<\/span>\r\n \r\n <\/i><\/span>\r\n <\/i><\/span>\r\n <\/span>\r\n <\/div>\r\n
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Catalan uses solo flute in her \"Rondo para un mayorazgo\": the combination of timbre with the strings is suggestive and the work, which very freely recreates the tripartite scheme of the traditional \"Concerto\", achieves originality and strength especially in the intermediate \"Lento\".<\/p>\n <\/div>\r\n \r\n

\r\n \u00c1ngel Luis Casta\u00f1o. EL ADELANTADO DE SEGOVIA. 21th july 1998<\/span>\r\n \r\n <\/i><\/span>\r\n <\/i><\/span>\r\n <\/span>\r\n <\/div>\r\n
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\u201cRondo para un mayorazgo\u201d ... The work is an interesting work by Teresa Catal\u00e1n from Navarra, with a more continuous language with the tradition that is even reflected in the form chosen for the work (a rondo), which was extremely beautiful due to its rhythmic and melodic contrasts.<\/p>\n <\/div>\r\n \r\n

\r\n Antonio Lasierra. EL PERI\u00d3DICO. 25th january 1998<\/span>\r\n \r\n <\/i><\/span>\r\n <\/i><\/span>\r\n <\/span>\r\n <\/div>\r\n
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This time Olives contrasted groundbreaking works (Distanzen by Isang Yun and Kya by Scelsi) and works that do not hide their links with tradition (Figures N\u00ba 1 by Professor Teresa Catal\u00e1n and Tree line by Takemitsu). These won by a landslide for good construction, timbral interest, expressive warmth and even high class lyricism.<\/p>\n <\/div>\r\n \r\n

\r\n \u00c1ngel Luis Casta\u00f1o. EL ADELANTADO DE SEGOVIA. 20th december 1997<\/span>\r\n \r\n <\/i><\/span>\r\n <\/i><\/span>\r\n <\/span>\r\n <\/div>\r\n
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The composer Teresa Catal\u00e1n, gave a brief but lucid presentation of the Spanish music of this century\u2026 Elective Affinity in G, by Teresa Catal\u00e1n, is an attractive work in which with the references to (that note) she achieves moments of great tension.<\/p>\n <\/div>\r\n \r\n

\r\n \u00c1lvaro Guibert. ABC. 10th november 1996<\/span>\r\n \r\n <\/i><\/span>\r\n <\/i><\/span>\r\n <\/span>\r\n <\/div>\r\n
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The Sarasate Orchestra performed \"El rapto de Europa\" ... The melodic and timbral beauty of the piece by Teresa Catal\u00e1n stands out in the work.<\/p>\n <\/div>\r\n \r\n

\r\n Fernando P\u00e9rez Ollo. DIARIO DE NAVARRA. 12th june 1996<\/span>\r\n \r\n <\/i><\/span>\r\n <\/i><\/span>\r\n <\/span>\r\n <\/div>\r\n
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Teresa Catal\u00e1n is, in my opinion, the most valuable name of the Iru\u00f1ako Taldea\u2026 Such an opinion is not from today: it was evident and was printed years ago\u2026 Time sometimes helps to understand that culture and creation are usually personal work, with name and surname\u2026 The program offered samples of the music that Teresa Catal\u00e1n has written throughout her years. Contrasting and even contradictory examples, which today perhaps the same author qualifies as eclectic ... Sufficient examples to conclude that today Teresa Catal\u00e1n is, due to her work, the most interesting name, not only the most notorious, of that group.<\/p>\n <\/div>\r\n \r\n

\r\n Manuel de Lario. AK\u00cd ZARAGOZA. April 1996<\/span>\r\n \r\n <\/i><\/span>\r\n <\/i><\/span>\r\n <\/span>\r\n <\/div>\r\n
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The concert hall of the Cam\u00f3n Aznar museum recently hosted the premiere of the new proposals by Teresa Catal\u00e1n, one of our composers with the most projection, both at a state and continental level in terms of avant-garde music.<\/p>\n <\/div>\r\n \r\n

\r\n Teobaldos. DIARIO DE NOTICIAS. 10th june 1996<\/span>\r\n \r\n <\/i><\/span>\r\n <\/i><\/span>\r\n <\/span>\r\n <\/div>\r\n
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It is rare to see a packed concert hall when performing contemporary music, and it is rarer to appreciate that the applause of the audience transcends mere courtesy. Teresa Catal\u00e1n, the Iru\u00f1era composer, achieved great success last Wednesday.<\/p>\n <\/div>\r\n \r\n

\r\n Patxi Larra\u00f1aga. DIARIO DE NOTICIAS. 30th may 1994<\/span>\r\n \r\n <\/i><\/span>\r\n <\/i><\/span>\r\n <\/span>\r\n <\/div>\r\n
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Teresa Catal\u00e1n's work, in the field of the Bartokian and using a language neither tonal nor atonal, is not far behind in its rigor. Catalan is probably the most abstract member of the Pamplona group, betting on a more structural than semantic option.<\/p>\n <\/div>\r\n \r\n

\r\n Fernando P\u00e9rez Ollo. DIARIO DE NAVARRA. 16th october 1993<\/span>\r\n \r\n <\/i><\/span>\r\n <\/i><\/span>\r\n <\/span>\r\n <\/div>\r\n
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There is a clever use of \"sweetness, ambiguity and calculated abandon\", as defined by the cited notes printed in the program. In this aspect, Teresa Catal\u00e1n, the most interesting sensitivity and musicality of the group in which she is integrated, as I labeled her years ago, shows her progress and also her difficulties \"Tremulae sinuantur flamine uestes\", Ovidio ends the second book of his \"Metamorphoseon\", whose final forty verses describe the rape of Europa. With that undulation of the breeze, the musical piece seems to start, which then advances through shadows and broken games of continuities, such as those that Ligeti defined a decade ago.<\/p>\n <\/div>\r\n \r\n

\r\n V\u00edctor Burell. CINCO D\u00cdAS. 30th october 1991<\/span>\r\n \r\n <\/i><\/span>\r\n <\/i><\/span>\r\n <\/span>\r\n <\/div>\r\n
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Europa is a ballet whose nucleus is a previous sextet. Teresa Catal\u00e1n achieves, with a wise orchestration, expressive romantic results that are formulated on the well-planned rhythmic formula so necessary for dance.<\/p>\n <\/div>\r\n \r\n

\r\n G.D. LA NAZIONE AREZZO. 19th april 1990<\/span>\r\n \r\n <\/i><\/span>\r\n <\/i><\/span>\r\n <\/span>\r\n <\/div>\r\n
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Of particular interest was also the branno \"Figuras 2\" by the Spanish composer Teresa Catal\u00e1n, presented in the first Italian performance. The work born from the emotions aroused on the author by drawings representing geometric figures has allowed the performers to unleash all the technical-expressive baggage they possess, both for the continuous rise of the melody in the over-high register, and for the frenetic evolution rhythmic and dynamic events.<\/p>\n <\/div>\r\n \r\n

\r\n Martina Helmig. BERLINER MORGENPOST. 12th june 1989<\/span>\r\n \r\n <\/i><\/span>\r\n <\/i><\/span>\r\n <\/span>\r\n <\/div>\r\n
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Teamwork is not exactly common among composers. In Spain, however, there are five \u201cTonk\u00fcnstler\u201d who composers together as a \"group from Pamplona\". The wind quintet \"Raub der Europa\" is a collaborative effort. With their music, the composers take turns telling the story of the father of gods approaching Princess Europe in the form of a bull. All five composers write the same musical handwriting - vividly visual, rich in gestures, humorous and full of color. The performance of the delightful composition was the focus of the music evening that the Stuttgart wind quintet created in front of the Glienicke Palace ... The Stuttgart wind quintet created sensitive sound images.<\/p>\n <\/div>\r\n \r\n

\r\n Jos\u00e9 Antonio Zubicarai. EUSKOR. September 1986<\/span>\r\n \r\n <\/i><\/span>\r\n <\/i><\/span>\r\n <\/span>\r\n <\/div>\r\n
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Iru\u00f1eako Taldea\u2026 One work by each of the musicians was enough to reveal elevated stylistic heights in all these musicians encouraged in their training by Agust\u00edn Gonz\u00e1lez Acilu and Ram\u00f3n Barce. Current music, restless, but not far from the aesthetic restlessness of the community; an accessible creation of deep humanistic concern. It is undoubtedly the most cohesive and leading movement of those that exist in the country.<\/p>\n <\/div>\r\n \r\n

\r\n Jos\u00e9 Antonio Zubicarai. DEIA. 23th may 1986<\/span>\r\n \r\n <\/i><\/span>\r\n <\/i><\/span>\r\n <\/span>\r\n <\/div>\r\n
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Teresa Catal\u00e1n, appeared in Musikaste with a Quartet without number, a work that shows a very well found balance between the plan and the realization, something rare. Fast-slow-fast design. Wide sounds in the first movement that dissolve in pure lines, which gives a special character. The short slow movement, with the beautiful popular melody, acquires a very concentrated lyrical density and results in a page of great chamber flavor. A brief episode of running passages leads to the end of this work performed with depth by the Arriaga Quartet.<\/p>\n <\/div>\r\n <\/div>\r\n\r\n\r\n\r\n <\/div>\n\n\n\n

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