He started instrumental and theoric studies and obtained diplomas and distinctions such as analysis and orchestra conducting prizes, the Foundation de France Prize, a Master in musicology and a doctorate. Then, he perfected his training in master classes, studying deeply the vocal repertory with John Poole, the big symphonic repertory with Charles Brück and the contemporary repertoire with Peter Oetvös.

He has been assigned to various responsibilities as John Poole's assistant in 1993, as Musical Director of the International session of composition of Royaumont in 1996, as Musical Director of Ensemble Orchestral Contemporain in 1993. He is also leading a worldwide international career as guest conductor.

After some years dedicated to the performance of the 20th century repertoire, punctuated by his outstanding acquaintance with Pierre Boulez, Daniel Kawka has been eager to widen his repertory. Thus, after having conducted Operas as well as main symphony styles, and choir symphony for many years, he steers for more contemporary pieces such as the "Vaisseau fantôme" of Wagner (2003), the "Viol de Lucrèce" of B.Britten in l'Opéra de Rouen (2002), "Roméo et Juliette" of Berlioz (2003), "Don Giovanni" of Mozart in 2004, "Wozzeck" d'A. Berg (2005/2006), "Le vase de parfums" of Suzanne Giraud and "livret" of Olivier Py (Autumn 2004) and "Saint-François d'Assise" of Messiaen in 2005.

To mention his latest experiences, he regularly conducts other ensembles such as the New London Choir, the Maîtrise de Radio-France or the New Solisten of Stuttgart, Sinergy vocals etc.

Guest of the greatest European Symphonic Orchestras (Radio-France Philharmonic Orchestra, the National Orchestra of Lyon, the National Orchestra of Lille, the Symphonic Orchestra of Warsaw, Orchestra of the French side of Switzerland, the symphonic Orchestra of Milan, Ensemble Intercontemporain, London Sinfonietta.), Daniel Kawka is one of the most active and committed French orchestra conductors.

Daniel Kawka belongs to this generation of conductors who believe that « specialization » is just an additional mean to « open » and go deeper into style. The notion of "era" disappears progressively to give birth to a more enlightened approach of the whole repertoire with a mix of each era.