is already one of the key names in Spanish music of the second half of
Iges, Ars Sonora, Radio Clásica, June 96
He manages this
beautifully and subtly, with the expressive austerity in the vocals used
and a solely electro-acoustic support, fully achieved and permanently refined,
and with which poetry clearly wins over number.
Hontañón, Scherzo, November 95
has shown us that electro-acoustic music can serve perfectly as an accompaniment
to an operatic show.
Guerrero Martín, La Vanguardia, 26.9.95
Uno es el cubo
made a good entry in the Principal and was warmly applauded, with various
encores of the author and performers. It is, without doubt, an interesting
production, cared for with intelligence and warmth, and its first performance
went like clockwork.
García Alcalde, Información, 25.9.95
As far as music
is concerned, Polonio reliably demonstrates what he is more than well-known
for to those who follow the transformation of the electro-acoustic experience
in our country (...) The unanimous applause underlined the quality of this
performance of seventy minutes of duration, given without pause.
Luis García del Busto, ABC, 25.9.95
Both in Cuenca
and in Vida de máquinas, Eduardo Polonio produces very attractive
work (...) and confirms his expertise in this medium.
Guibert, Ritmo, June 93
It has been
said many times that Eduardo Polonio may be the best electro-acoustic musician
in the country.
Zarata, El Diario Vasco, 6.4.90
For a period of
just under an hour the central and magnificent Majorcan Palau Solleric
became an oniric place with certain touches of mystery capable of harbouring
Jurado, El País, 31.10.89
is a complete musician, who feels what he does, and knows as few do how
to achieve what he proposes.
Cervelló, JANO, November 89
The second day
was opened by one of the most interesting creators of electro-acoustic
music in Spain: Eduardo Polonio.
Carlos Galilea, El País, 9.5.89
has had the opportunity to come into contact with a great variety of techniques
and their respective poetics. It is due to this that Cuenca is a rich and
attractive piece that speaks to us of the maturity of an electro-acoustic
Maderuelo, El Independiente, 16.12.88
is one of the most important composers we currently have in Spain.
Rodríguez Fernández, Ya, 20.8.88
The release of
the edition of Bload Stations · Syntax Error has just scraped through
in time for this year, something essential for me to be able to nominate
it as the best record published in our country of electronic music in 1987.
Gorostegui, Syntorama, nº 13, 87
is one of the most important composers among those who work in Spain with
G. Iberni, La Nueva España, Oviedo, October 87
Polonio knows inside
out the possibilities that computers offer and through them manages to
construct pieces of undeniable freshness.
Fancelli, El País, 4.7.86
it cannot be questioned
that Polonio constructs in Oficio a monolithic page, homogenous, serious,
and that produces a perfect feeling of unity.
Hontañón, ABC, 26.11.70
here an extraordinary piece due to the skill with which it is written,
which is critical in its purpose and aggressive and beautiful at the same
time in the resulting sound.
Marco, Diario SP, 18.3.69
In Polonio, and
in his Apólogos, there lives a sharp and healthy critical meaning
through frank irony (...) Composition with prehistory of self-critical
judgement, thought and carried out with a rare mastery and balance between
intention and results.
Franco, Arriba, 4.5.68