... With a trained listening, in his music one feels certain echoes of Shostakovich, Berio, Bernaola or his admired Cage. There is a clear tendency in Catalán to atonality, but always starting from the tonality. Hence, the change from one line to another is sometimes so subtle and so many others inaudible, since at times their music needs a trained audience in that atonal style. But what is clear is that if there is something that Teresa Catalán is, it is Teresa Catalán. She is unmistakable until we get confused. That is the brand of the house, the harmonic treatment. The eternal dialectic between the atonal and the atonal. Navigating among those waters, bringing them closer, is still another opposite, another oxymoron.

... I finish with a phrase from the composer herself that we should not lose track because losing her would be as overwhelming as it is terrible for today's society. A society without education dies; but without artistic education, he will stop dreaming.
Nuria Ruiz de Viñaspre. http://ellascrean.com/oximoron-musical/. 4 de abril de 2018.

 

In the well-deserved tribute to Teresa Catalán organized by this MUN cycle, there has been a shallow but fundamental review of the contribution of the composer and professor to the world of music -creation, dissemination and pedagogy-, starting with some biographical brushstrokes. But the best thing about the homage is to go back to their music, which, the more we interpret it, the more we like it.

"Aldonza y Crésida" (2015) is a delight in the atmosphere created in the sharp part of the piano, which shows the special affection with which the composer treats these two female characters vervantive-shakespirians. The second part was occupied by the ballet La "La Danza de la Princesa", a very beautiful score, with all the sonorous richness to conceive a great ballet.
Teobaldos. DIARIO DE NOTICIAS. 25 March 2017.

 

... "El rapto de Europa", the five scores of this ballet, enter us into a beautiful and understandable vanguard, without renouncing tradition - even in fragments such as seduction, for example. I don't know whether by the superb interpretation of the work in this lineup so grateful, or the proper education of the ear for these musics - surely for everything at the same time, but the musical composition has gained over time; the best that can be said of a work of art. That is, musically, it has been an impeccable concert, a timeless beauty and cameristic conjunction truly joyful, evocative.
Teobaldos. DIARIO DE NOTICIAS 12 de marzo de 2016

 

The best that can be said of the group is that, thirty years after its composition, not only has not aged, but now seems more current than when introduced to the public of the eighties.
Xabier Armendáriz. DIARIO DE NAVARRA. 12 March 2016

 

Less than a year ago, composer Teresa Catalán gave a lecture at the Mediateca of the City of Music in Pamplona. In that act, conceived mainly for the students of Composition of the Superior Conservatory, the illustrious composer offered some advice, between which one repeated time and time again. Composers should look for a voice of their own. It is not about writing at every moment in the style that is triumphing, because fashions pass and only authenticity remains constant.
Xabier Armendáriz. DIARIO DE NAVARRA. 9 February 2015

 

The work breathes fluidity, with an architecture full of science and mystery, and a dazzling timbre (…).
Teobaldos. DIARIO DE NOTICIAS. 15 April 2014.

 

Catalán proposes a relatively classical score, but with very energetic passages and great effectiveness in the use of timbre. Her poetic world is highly suggestive.
Mikel Chamizo. GARA. 12 April 2014.

 

The two works chosen by the OSE to open the concert were superbly exquisite. The first, “Printzesaren Dantza” composed by Teresa Catalán, showed numerous orchestral resources, and an entire world of sound that highlighted the personality of the orchestra itself.
Teresa Albero. EL DIARIO VASCO. 8 April 2014.

 

With “Sine Die”, Teresa Catalán displayed refined compositional work (...).
Francisco Mesa. DIARIO BAHÍA DE CÁDIZ. 1 December 2013.

 

There is a palpable refinement of style in Teresa Catalán´s works, based on the contrast between severe turmoil and slow meditation, always broken by fury that grows in the ostinato, in search of new timbral input.
Emiliano Allende. EL NORTE DE CASTILLA. 11 March 2013.

 

El Pájaro de Estinfalo. Flauta y piano” (...). Certainly a very interesting composition, the effects, tones, dynamic diversity and surprising twists with which the sinister Arcadian birds, to be killed and sold by Heracles, are brought to life.
NEUE NOTEN. Flöte aktuell, 2012 (p. 59).

 

Teresa Catalán’s work “Esparzas” judiciously doses the materials throughout a composition of considerable length (…) with an impressive solo voice opening and a clever and imaginative instrumental treatment.
Paco Mesa. DIARIO BAHÍA DE CÁDIZ. 24 November 2010.

 

This book is, without a doubt, one of the most thorough and useful texts that have recently been published in Spain. The fruit of several years of persistent and patient work of the author – a composer and professor of composition, the volume permits us to begin to clearly understand the internal mechanisms and relationships of the different systems of composition of the 20th century.
José Luis Nieto. 12 NOTAS. October – November, 2004.

 

The two very special master classes of this celebrated teacher that are circulating the world (…) form a magnificent book, Compositional Systems of the 20th Century, and an equally splendid CD  Teresa Catalán. Chamber Works (…).

The work of Teresa Catalán “exemplifies careful, elaborate and scientifically flawless research. But above all, it is an act of artistic bravery and integrity”.
Álvaro Zaldívar. MELÓMANO. June 2004.

 

The disc hides a story that is not so common these days: a passion for music.
12 NOTAS. April – May 2004.

 

I suppose now that you have had a composition teacher as excellent as Teresa Catalán, you have understood that the more one knows, the more one can develop in the creation of music (…).
Ramón Barce. Concert Programme. Sala Luis Galve auditorium in Zaragoza. 17 March 2004.

 

I have just received a splendid book (Compositional Systems of the 20th Century) and its author is Teresa Catalán (...). Here is a study that investigates significant proposals of contemporary music (…). Works such as Catalán’s are not only useful, but also serve to improve – by enriching it – the image of our musicology.
José Luis García del Busto. ABC. 20 February 2004.

 

The characteristic colour in the works of Catalán that makes them readily identifiable is perhaps the harmonic treatment, as from the very beginning she has remained firm in her search for harmonic fabric, neither tonal nor atonal.
Alicia Ezker. DIARIO DE NOTICIAS. 11 January 2004.

 

To begin with what offered special interest, the Pamplonian composer and pedagogue Teresa Catalán had a great success with the world premiere of her duet for harp and flute “Límite infinito”, the result of a commission from the Festival of Santander. A well deserved triumph without a doubt. Due to an instrumental treatment as refined as it is appropriate for each voice, the piece successfully articulates, in less than eight minutes of the new page, a logical and attractive continuum based on personal methodology that juggles, in a series of dialogues, introversion and self-assurance. A great success.
Leopoldo Hontañón. ABC. 5 August 2002.

 

Teresa Catalán, besides carrying out an intense task of teaching at the conservatory, is considered one of the most interesting and prestigious contemporary composers of the current panorama, not only in Spain, but also in many other countries.
Juan A. Gordón. EL HERALDO DE ARAGÓN. 20 April 2002.

 

Along with the interpretation of Benjamin´s work, Catalán’s composition “Viaje a Cólquida” was where we enjoyed the best moments. Basing on an ancient Greek myth, the Pamplona-born composer constructs a work full of effects, complicated sounds and textures, but with a vitality and musicality that filled the audience with enthusiasm.
Isaac Lahoza. MUNDO CLÁSICO. Year III, No. 456, 19 September 2000.

 

Of them all, (…) “Primer Juguete” by Teresa Catalán stood out for its beauty, although it is constructed with some substantial technical difficulty due to the fact that its composition is based on three voices.
Isaac Lahoza. MUNDO CLÁSICO. Year III, No. 456, 19 September 2000.

 

The song “Hom Fora Seny”, interpreted with great virtuosity (…) was without a doubt the moment of the highest aesthetic achievement of the evening. Voice and piano transitioned understanding in a cohesive manner, using atonal language with looseness and expressive strength, honest, outright and brilliant.
José L. Galiana Gallach. LEVANTE. 11 June 2000.

 

Teresa Catalán is a restless person in the world of composition; she distils her roots to offer music that is austere in form, but rich and brilliant in its contents.
Teobaldos. DIARIO DE NOTICIAS. 16 November 1999.

 

In its sixth edition, the International Composition Course of Veruela has achieved definite consolidation and recognition within the current musical panorama (…). Teresa Catalán, who envisioned it as an a priori risky project, has established it as an essential event in the cultural calendar of the summer.
José A. Gordón HERALDO DE ARAGÓN. 26 August 1999.

 

A real celebration of Spanish premieres (…), interesting dialogue and creative animation in the work “Rondó para un Mayorazgo” for flute and strings, by Teresa Catalán, with an excellent performance by the soloist Maria Antonia Rodriguez.
Carlos Gómez Amat. EL MUNDO online edition. 22 July 1998.

 

“Rondó para un Mayorazgo” provokes more than just applause: the desire to hear it again (…). Teresa Catalán’s score objectifies in sound all the suggestions derived from painting, and transforms them into a balanced sequence, rich in linear and polyphonic invention and of great emotional power.

A new, different, unprejudiced generation, following the ways paved by their predecessors in the 1950s and radically universalist, is coming to the forefront of Spanish musical creation.
Enrique Franco. EL PAÍS. 21 July 1998.

 

Catalán uses solo flute in her “Rondó para un Mayorazgo”: her combination of timbres with the strings is suggestive and the work, which recreates very liberally the tripartite scheme of the traditional classical concerto, achieves most originality and force in the “Lento” middle movement.
José Luis García del Busto. ABC. 21 July 1998.

 

“Rondó para un Mayorazgo” (…). The work is an interesting composition of Teresa Catalán, with a more traditionalist language, reflected even in the form chosen for the work (a rondo), which results in great beauty for its rhythmic and melodic contrasts.
Ángel Luis Castaño. EL ADELANTADO DE SEGOVIA. 21 July 1998.

 

Olives this time contrasted innovative works (“Distanzen” by Isang Yun and “Kya” by Scelsi) with works that do not hide their connection to tradition (“Figuras Nº 1” by the professor Teresa Catalán and “Tree line” by Takemitsu), (…) which won by a landslide owing to their good construction, interesting timbre, expressive warmth and even lyricism of great class.
Antonio Lasierra. EL PERIÓDICO. 25 January 1998.

 

The composer Teresa Catalán made a brief but splendid presentation of Spanish music of this century (…). ”Afinidad Electiva en Sol” by Teresa Catalán is an attractive work in which references to that note achieve moments of great emotional tension.
Ángel Luis Castaño. EL ADELANTADO DE SEGOVIA. 20 December 1997.

 

The Sarasate Orchestra interpreted “El Rapto de Europa” (…). What stood out was the melodic and timbral beauty of the piece by Teresa Catalán.
Álvaro Guibert. ABC. 10 November 1996.

 

Teresa Catalán is, in my opinion, the most valuable name of the Iruñeako Taldea (…). This opinion is hardly new: it was evident and was printed years ago (…). On occasion, time helps us understand that culture and creation are usually personal work, with a name and last name (…). The programme offered samples of the music that Teresa Catalán has written throughout her life. Contrasting and sometimes contradictory examples, which the composer could perhaps call eclectic (…). Samples that are sufficient to conclude that today Teresa Catalán is, thanks to her work, the most interesting, not just the most notorious, name of that group.
Fernando Pérez Ollo. DIARIO DE NAVARRA. 12 June 1996.

 

The concert hall of the Camón Aznar museum recently hosted the premiere of the newest works of Teresa Catalán, one of our composers with the greatest influence, both at the national and continental level, in terms of avant-garde music.
Manuel de Lario. AKÍ ZARAGOZA. April 1996.

 

It is not usual to see a concert hall full when contemporary music is being performed, and even more unusual to notice that the applause goes beyond mere courtesy. Teresa Catalán achieved a great success last Wednesday.
Teobaldos. DIARIO DE NOTICIAS. 10 June 1996.

 

The work of Teresa Catalán, in the Bartokian tradition and using a language that is neither tonal nor atonal, does not lack in rigour. Catalán is probably the most abstract member of the Pamplona group, betting on a more structural than semantic option.
Patxi Larrañaga. DIARIO DE NOTICIAS. 30 May 1994.

 

There is a skillful utilization of “sweetness, ambiguity and calculated abandon” as defined in the programme notes. In this aspect, Teresa Catalán – the most interesting sensitivity and musicality in the group of which she is a member, as she has shown for years ­– displays her progress.
Fernando Pérez Ollo. DIARIO DE NAVARRA. 16 December 1993.

 

“Europa” is a ballet that has as its nucleus a former sextet. Teresa Catalán uses smart orchestration to accomplish expressive and romantic results, formulated over a well conceived rhythmic formula so necessary for the dance.
Víctor Burell. CINCO DÍAS. 30 October 1991.

 

Of particular interest was also the piece "Figures 2" by the Spanish composer Teresa Catalán, which had its Italian premiere. The work, born from the emotion aroused in the author by drawings of geometric figures, has allowed the performers to remove all the technical and expressive baggage they had, both through the continuously rising melody in the register, and most of all the frantic evolution of rhythmic and dynamic events.
G.D. LA NAZIONE AREZZO. 19 April 1990.

 

Teamwork is not quite common among composers. In Spain, there are five musicians who compose together as the Pamplona group. The wind quintet cycle "Rape of Europa" is a joint work. With their music, the composers tell the story of the father of the gods, who approaches princess Europa in the form of a bull. All five composers write in the same musical style – picturesque, melodious, humorous and colourful language. The performance of this delightful composition was the musical focus of the evening, performed by the Stuttgart Wind Quintet at the Glienicke Palace (...). The Stuttgart Wind Quintet created sensitive sound images.
Martina Helmig. BERLINER MORGENPOST. 12 June 1989.

 

Iruñeako Taldea (…). One work by each of the musicians was sufficient to reveal elevated stylistic heights, encouraged in all of them during their education by Agustín González Acilu and Ramon Barce. Current music, restless but not remote from collective aesthetic restlessness; an accessible creation with a deep humanistic preoccupation. This is undoubtedly the most cohesive and focused movement of those that exist in the country.
José Antonio Zubicarai. EUSKOR. September, 1986.

 

Teresa Catalán appeared in Musikaste with "A Quartet Without a Number", a work that marks a perfect balance between the plan and realization, a very uncommon thing.
José Antonio Zubicarai. DEIA. 23 May 1986.