Eduardo Polonio is already one of the key names in Spanish music of the second half of the century.  José 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.  Leopoldo Hontañón, Scherzo, November ‘95 Eduardo Polonio has shown us that electro-acoustic music can serve perfectly as an accompaniment to an operatic show.  Jose 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.  Guillermo 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.  José 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.  Álvaro Guibert, Ritmo, June ‘93 It has been said many times that Eduardo Polonio may be the best electro-acoustic musician in the country.  Iñaki 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 any fantasy.  Miquel Jurado, El País, 31.10.89 Eduardo Polonio is a complete musician, who feels what he does, and knows as few do how to achieve what he proposes. Jordi 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 Eduardo Polonio 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 musician...  Javier Maderuelo, El Independiente, 16.12.88 Eduardo Polonio is one of the most important composers we currently have in Spain.  Jesús 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.   Cruz Gorostegui, Syntorama, nº 13, ‘87 Eduardo Polonio is one of the most important composers among those who work in Spain with electronic music.  Luis 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.  Agustí 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.  Leopoldo Hontañón, ABC, 26.11.70 Polonio achieves 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.  Tomás 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.  Enrique Franco, Arriba, 4.5.68