| La Voix de Pauset (translation EOC)
" Throughout the concert, Ensemble Orchestral Contemporary under the direction of Daniel Kawka has been imposed as one of the best structures (not only from the French ones) dedicated to today's repertoire "
Diapason - January 2002, " Vu et entendu " - DD
Le viol de Lucrèce à l'Opéra (translation EOC)
"Daniel Kawka leads Ensemble Orchestral Contemporain with attention and precision, anxious about the sound and the rhythm quality."
Ouest France - Febuary 6th, 2002 - Gérard Pernon
The Opera of Renne gave a pure and icy "viol de Lucrèce pure" performance. (translation EOC)
" Daniel Kawka and his Ensemble have managed to give a wonderful, faithful and accurate interpretation of the alchemical score of the thirteen instrumentals. "
Le Monde - February 8th, 2002 - Renaud Machard
Mahler triomphe à Montbrison
"We could have feared that each one would have played individually. But it didn't happen, Kawka's wand having magic powers of unity and homogeneity".
Le Progrès de la Loire - December 23rd, 2003 - Jean-François Roche
" An unique french ensemble with mixed vocation (traditional instruments and electro-acoustics devices, played by the 15 to 35 musicians), the EOC can be praised for having served 110 composers and 173 masterpieces in 10 years, during 9 to 10 annual programs. A vast repertoire which extends from Gilbert Amy to Frank Zappa with some incursions into Debussy, Schoenberg, Britten or Bartok. "
Le Tout Lyon - March 8th, 2003 - Philippe Andriot
" We are amazed in front of such a precision and quality of interpretation of Ensemble Orchestral Contemportain ".
Le Petit Bulletin - March 26th, 2003
" Lights and shades blended " - from " l'Enfant dans l'Ombre "
" It is truly well performed by a small structure of brass from the Ensemble Orchestral Contemporain ".
Lyon Figaro - May 14th, 2003 - Gérard Corneloup
" Transcription pour orchestre de chambre du " chant de la terre " de Gustave Mahler
CD Selena edition (translation EOC)
" The play of the piano, the organ and sometimes, truculent percussions in "Von der Schönheit" gives a completely different composition from the original one, but still deeply moving. The legibility of the composition is striking and one forgets the thickness of the original orchestral version. To do that, Kawka takes risks, especially in the final part of the play when the flute "converses" with the baryton. […] Far better than the productions of Herreweghe (Harmonia Mundi), Jordan (Cascavelle) or Wigglesworth (RCA). This beautiful record deserves our full attention at the same level as Vänskä/Groop-Silvastri, who still our reference (Repertoire n°84)."
Le monde de la musique - April 2004 - Stéphane Friédérich
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