Reviews of Temes Nevinbür 

- François-Bernard Mâche's soundtracks are much more original, attempting to capture nature in its purest state, in particular the cries of animals, furry or feathered. F-B. Mâche endeavours to integrate this raw "natural" discourse (which he has obviously chosen and ordered) with the elaborate, "cultural" discourse of instruments created by man. He does this in 'Korwar' for harpsichord and tape, and in 'Temes Nevinbür' for two pianos, two percussionists and tape. The undertaking may not be entirely convincing, but it is done with great seriousness and sincerity. If you needed convincing that F-B. Mâche is a thoroughbred musician, all you have to do is listen to his 'Kemit', a scrupulous notation of a darbouka solo in Upper Nubia. The man who possesses such an ear will end up giving us works that we can admire without reticence, when he has enough confidence in himself to draw the source of his music from it. 
                                                         Gérard Zwang (1973) 

Confirmation of François-Bernard Mâche in Royan 

Temes Nevinbür takes up the same research [as Korwar] with an almost identical tape, accompanied by the pianos  of the Labèque sisters and the 
percussion by Drouet and Gualda, who give the work a more volcanic and demonic character, less pure and rigorous perhaps, but superb.

                          Jacques Longchampt, Le Monde  19 April 1973