Manuel Enríquez (1926-1994)
During
the second half of the 20th century Manuel Enríquez was the predominant
personality on the Mexican musical scene, not only as a composer, but
also as an administrator, teacher, diffuser and active member of the
most prestigious cultural institutions in the country. His dynamic
presence, and abundant musical activity for three decades, made him
a pillar in Mexican music. Born in Ocotlán, Jalisco, his musical
vocation arose from forebears , above all his grandfather and father,
part of a family where music was a part of their daily life. His violin
studies began with his father and continued in Guadalajara in the
academy of Aurea Corona with Ignacio Camarena. Later he made weekly
trips to the city of Morelia to study with Miguel Bernal Jiménez. In
1955 he received a scholarship to attend the Juilliard School of Music
in New York. There he studied with Ivan Galamian (violin), Louis
Persinger and William Primrose (chamber music), and Peter Mennin, his
composition teacher who helped him take his musical compositions toward
structural forms and to cultivate the expressionist language we find
later in his mature music. Of equal importance were his dealings with
Stefan Wolpe, a disciple of Anton Webern, who spoke to him not only of
music, but also of politics and the humanities. He received a
Guggenheim Fellowship in 1971, and went to the Center of Electronic
Music at Columbia University to experiment with Electronics and to
study the new resources afforded by contemporary technology. He
considered electronics to be just another tool for the contemporary
composer. And because of his desire to keep up with new tendencies in
composition, he attended the renowned international courses of
Darmstadt where he made contacts with the great European avantgarde
composers: Berio, Xenakis, Stockhausen, Penderecki and Ligeti. Between
1975 and 1977, Enríquez lived in Paris, commissioned by the Mexican
government to promote Mexican music in Europe. He gave recitals in
Vienna, Paris, Bonn, Warsaw, Bourges, etc. This intense activity also
included lecturers on new music in Mexico and helped to make known
Mexican composers in Europe. In many ways Enríquez was a pioneer in the
field of new execution techniques and in specializing in contemporary
repertoire. Yet his most important field remained composition. Heir to
the school of Bernal Jiménez, he quickly broached new directions that
included poli-tonality, dodecaphonism, alleatory and electronic music.
His extensive catalogue of nearly 150 works, includes all genres of
instruments, sporadic encounters with vocal music, electroacoustical
music, music with purely electronic sounds and multimedia. He briefly
explored serialism, though far from the orthodoxy that later Schoenberg
disciples promoted. Beginning with Transición (1965) and Cuarteto II
(1967), Enríquez experimented with graphic notation, aleatory control,
open forms, explorations of new possibilities for instruments, and
musique concrete. The maturity of the 80´s reflected a return of
conventional writing, mixed with an aleatory idiom. Some of the works
from this period share the spirit of the searching neo-instrumental of
1980’s, or were the product of the appearance of a rich generation of
interpreters specialized in new music: the group Da Capo, the
Percussions Orchestra of UNAM (National Autonomous University) the Trio
Neos, the Cuarteto Latinoamericano, and individuals such as Marielena
Arizpe, Luis Humberto Ramos, Lidia Tamayo, Wendy Holdaway, Marisa
Canales and many others. His activities as composer lead him to
participate in important international festivals of new music all
around the world: Donaueschingen; Autummn Warsaw; Darmstadt;
International Music Festival of O.A.S in Washington, Prague; Bourgues;
Maracaibo; La Habana, Buenos Aires, Berliner Fetspiele, Casals in
Puerto Rico; Manuel de Falla, Toronto New Music Concerts; Vermont and
so on. In Mexico he participated in the Contemporary Musical Festival
of Guadalajara, The Spring Festival of the Orquesta Sinfónica Nacional
in Oaxaca, the International Cervantino Festival, the "Días Mundiales
de la Música", Festival of ICMS in Mexico City. He was director of the
International Music Festival in Morelia and from 1979 to 1994 he
directed the International Forum of New Music, the most notable and
lasting encounter for contemporary music in Mexico. The Forum is now
named after him. He also organized the First Latinamerican Encounter of
Composers within the International Festival in Morelia. His extensive
teaching career began in 1964 when he became a professor at the
National School of Music, later at the National Conservatory of Music
and the Superior School of Music. In 1972 he became director of the
National Conservatory of Music and instigated significant changes in
this center and opened its classrooms to the most important foreign
contemporary composers. He was also guest lecturer and professor at
numerous institutions and centers. Inseparable from his composition
activities, Enríquez was committed to the organization of activities
and institutions that promoted new music and contributed to its
knowledge. Thus, he was founder of the grupo "Nueva Música de México,
the Mexican Society of Contemporary Music, President of the Mexican
Association of New Music, founder of the interdisciplinary group "El
Carro de Osiris", founder of the Latinamerican Society of New Music,
President of "Editora de Música de Concierto S.C.", Coordinator of the
series "Mexico, A Work of Art" presented in New York, N.Y. , San
Antonio, Tex. and Los Angeles, Ca. He coordinated the musical
activities in Germany for the Book Fair in Frankfurt, dedicated to
Mexico in 1992; founder and director of the International Forum of New
Music and member of the Directive Committee of the International Center
of Electroacoustical Music. He formed part of Mexican delegations to
the Congress of the Authors and Composers Society in Warsaw and Paris
where he presented the problem of diffusion, edition and recording of
music by contemporary composers. His active and committed participation
in the development of Mexican music, its institutions and its
projections on an international level, caused him to form part of the
Technical Council of the "Orquesta Sinfónica Nacional", became a member
of the Technical Council of the "Ballet Clásico de México", Head of the
Music Department for the National Institute of Fine Arts (INBA),
Director of the National Center of Research, Documentation and Musical
Information (CENIDIM) Coordinator of the Fifth Interamerican Conference
of Musical Eduction of the O:A:S:, vocal of the Inter-American Council
of Music of the O.A.S., member of the Editing Council of the Latin
American Music Review, member of the Executive Committee of the
International Council of Music (CIM-UNESCO) ; member of the Directive
Committee of the Society of Authors and Composers of Mexico, member of
the Consultive Commission of the National Council for Culture and Arts
and musical advisor to the presidency of CONACULTA. At the height of
his abilities and creative maturity, he was invited to head the
Composition Department of UCLA. He died suddenly on April 26, 1994. His
death brought an end to an important epoch of avant-garde music in
Mexico.- Aurelio Tello
COMPOSITIONS Links ~ ~ ~ Works by Genre ~ ~ ~ Enríquez on Enríquez
Suite, violin and piano (1949)
Dos canciones (2 songs), female voice and piano (1950)
Música incidental, string orchestra (1952)
Violin Concerto No. 1 (1954)
Sinfonia (I), orchestra (1957)
Suite, string orchestra (1957)
String Quartet No. 1 (1959)
Preámbulo, orchestra (1961)
Cuatro piezas, viola and piano (1962)
Divertimento, flute, clarinet and bassoon (1962)
Sinfonia II, orchestra (1962)
Sonatina, cello (1962)
Obertura lirica, orchestra (1963)
Pentamúsica, woodwind quintet (1963)
Reflexiones, violin (1964)
Sonata, violin and piano (1964)
Tres formas concertantes, clarinet, bassoon, horn,violin, cello, piano and (1) percussion (1964)
Tres invenciones, flute and viola (1964)
A lápiz, piano (1965)
Amelia, film score (1965) [director: J. Guerrero]
Módulos, 2 pianos (1965)
Tajimara, film score (1965) [director: J. J. Gurrola]
Transición, orchestra (1965)
Lola de mi vida, film score (1965) ?????
Violin Concerto No. 2 (1966)
Ego, cantata, female voice, flute, cello, piano and percussion (1966) [text: M. del Rio: Miralina]
El cuarto chino, film score (1966) [director: A. Zugsmith]
Poema, cello and orchestra (1966)
Ambivalencia, violin and cello (1967)
String Quartet No. 2 (1967)
Enlaces, piano (1967)
Juego de Mentiras, film score (1967) [director: A. Burns]
Mariana, film score (1967) [director: J. Guerrero]
Trabajar Cansa, film score (1967) [director: S. Laiter]
Trayectorias, orchestra (1967)
Una señora estupenda, film score (1967) [director: E. Marrin]
Concierto para 8, violin, double bass, clarinet, bassoon, trumpet, trombone, percussion and conductor (1968)
Móvil (I), piano (1968)
Si libet, orchestra (1968)
Diptico I, flute and piano (1969)
Ixámatl, orchestra (1969)
Móvil II, violin [alone or w/tape] (1969)
3 x Bach, violin and tape (1970)
Piano Concerto (1970)
Mixteria, actress, flute, viola, trombone, percussion and electronic sounds (1970) ['5 plus 2" ???]
Para Alicia, piano (1970)
Díptico II, violin and piano (1971)
él y...ellos, violin solo, fl, cl, bsn, tpt, trom, hn, va, vc, db, (1) perc (1971)
La reunión de los saurios, tape (1971)
Monólogo, trombone (1971)
Tú, yo y nosotros, film score (1971) [director: G. Martínez]
Viols, [1 wind instrument] and tape (1971)
a ... , violin and piano (1972) [a ... 2]
Encuentros, 4 percussionist and string orchestra (1972)
Laser I, multimedia/tape (1972)
Muñeca Reina, film score (1972) [director: S. Olhovitch]
Con ánima, piano (1973)
Imaginario, organ (1973)
Ritual, orchestra (1973)
1 x 4, piano 4-hands (1974)
String Quartet No. 3 (1974)
Música para Federico Silva, multimedia/tape (1974)
Trauma, actress, 4 instruments and tape (1974)
Trio, violin, cello and piano (1974)
La bestia acorralada, film score (1975) [director: A. Mariscal]
Once Upon a Time, harpsichord (1975)
Conjuro, double bass and tape (1976)
Contravox, chorus, (2) percussion and tape (1976)
Del viaje inmóvil, voices, instruments, electronic sounds and images (1976)
La casa del sol, musicians, dancers, actors and electronic sounds (1976)
Tlachtli, violin, cello, flute, clarinet, horn, trombone and piano (1976)
Tzicuri, cello, clarinet, trombone and piano (1976)
Canto de los volcanes, tape (1977)
Corriente alterna, orchestra (1977)
Raices, orchestra (1977)
Concierto barroco, 2 violins and orchestra (1978)
Fases, orchestra (1978)
Oficio de tinieblas, film score (1978) [director: A. Burns]
Misa prehistórica, tape (1980)
Sonatina, orchestra (1980)
Hoy de ayer, piano (1981)
Interminado sueño, actress, 4 percussionists and [wind] orchestra (1981)
En prosa, flute, oboe, cello and piano (1982)
Oboemia, oboe (1982)
Arrangements???:
Adios Mariquita linda, orchestra (1982)
Alejandra, orchestra (1982)
Así es mi tierra, orchestra (1982)
Camino real, orchestra (1982)
Club Verde, orchestra (1982)
Dios nunca muere, orchestra (1982)
El carretero, orchestra (1982)
El faisán, orchestra (1982)
El sinaloense, orchestra (1982)
Fantasia, orchestra (1982)
Guadalajara, orchestra (1982)
La Adelita, orchestra (1982)
La borrachita, orchestra (1982)
La casita, orchestra (1982)
La negra noche, orchestra (1982)
La Valentina, orchestra (1982)
Las perlitas, orchestra (1982)
Morir de amor, orchestra (1982)
Olimpia, orchestra (1982)
Rayando el sol, orchestra (1982)
Sobre las olas, orchestra (1982)
Te quiero dijiste, orchestra (1982)
Tristes jardines, orchestra (1982)
Vals poético (Felipe Villanueva), orchestra (1982)
A Juárez, cantata, baritone, chorus and orchestra (1983)
String Quartet No. 4 (1983)
Poemario, 2 guitars (1983)
Poliptico, 6 percussionists (1983)
Interecos, (1) percussion and tape (1984)
Manantial de soles, soprano, actor and [wind] orchestra (1984)
Palindroma, harp (1984)
Lamentatio, string orchestra (1984)
Cello Concerto (1985)
Spinetta con spirito, harpsichord (1986)
Vivencias liricas, orchestra (1986)
Diptico III, string orchestra and (1) percussionist (1987)
Rapsodia Latinoamericana, orchestra (1987)
String Quartet No. 5, "Xopan Cuicatl" (1988)
Manantial de soles, mezzo-soprano, piano and 6 percussionists (1988)
Recordando a Juan de Lienas, string orchestra (1988)
Tlapizalli, clarinet (1988)
Tres instantáneas, guitar (1988)
Tres danzas tarascas, cello and piano (1988)
Tres piezas para cello y piano (1988)
Maxienia, piano (1989)
Obertura sobre temas de Juventino Rosas, orchestra (1989)
Quasi libero, flute and string quartet (1989)
Concertino para orquesta (1990)
En prosa II, clarinet, violin, cello and piano (1990)
Tercia, clarinet, bassoon and piano (1990)
Un mundo mejor, children's chorus and orchestra (1990)
Fantasia concertante, cello and piano (1991)
Himno de los bosques, narrator, chorus and orchestra (1991)
Piedras del viento, narrator, chorus and orchestra (1991)
Concerto for 2 Guitars and Orchestra (1992)
Diálogos, violin (1992)
Visión de los Vencidos, baritone, mezzo-soprano, chorus and orchestra (1993)
De acuerdo, bassoon and piano (1993)
Zenzontle, flute and string orchestra (1993)
Tendencias actuales de la arquitectura mexicana, soundtrack for documentary short film score (1995)
WORKS BY GENRE Enríquez Links ~ ~ ~ Enríquez on Enríquez ~ top of page ~
Dramatic/Theater
Mixteria, actress, flute, viola, trombone, percussion and electronic sounds (1970) ['5 plus 2" ???]
Trauma, actress, 4 instruments and tape (1974)
La casa del sol, musicians, dancers, actors and electronic sounds (1976)
Orchestra
Música incidental, string orchestra (1952)
Sinfonia (I), orchestra (1957)
Suite, string orchestra (1957)
Preámbulo, orchestra (1961)
Sinfonia II, orchestra (1962)
Obertura lirica, orchestra (1963)
Transición, orchestra (1965)
Trayectorias, orchestra (1967)
Si libet, orchestra (1968)
Ixámatl, orchestra (1969)
Ritual, orchestra (1973)
Corriente alterna, orchestra (1977)
Raices, orchestra (1977)
Fases, orchestra (1978)
Sonatina, orchestra (1980)
Interminado sueño, actress, 4 percussionists and [wind] orchestra (1981)
Adios Mariquita linda, orchestra (1982)
Alejandra, orchestra (1982)
Así es mi tierra, orchestra (1982)
Camino real, orchestra (1982)
Club Verde, orchestra (1982)
Dios nunca muere, orchestra (1982)
El carretero, orchestra (1982)
El faisán, orchestra (1982)
El sinaloense, orchestra (1982)
Fantasia, orchestra (1982)
Guadalajara, orchestra (1982)
La Adelita, orchestra (1982)
La borrachita, orchestra (1982)
La casita, orchestra (1982)
La negra noche, orchestra (1982)
La Valentina, orchestra (1982)
Las perlitas, orchestra (1982)
Morir de amor, orchestra (1982)
Olimpia, orchestra (1982)
Rayando el sol, orchestra (1982)
Sobre las olas, orchestra (1982)
Te quiero dijiste, orchestra (1982)
Tristes jardines, orchestra (1982)
Vals poético (Felipe Villanueva), orchestra (1982)
Lamentatio, string orchestra (1984)
Vivencias liricas, orchestra (1986)
Diptico III, string orchestra and (1) percussionist (1987)
Rapsodia Latinoamericana, orchestra (1987)
Recordando a Juan de Lienas, string orchestra (1988)
Obertura sobre temas de Juventino Rosas, orchestra (1989)
Concertino para orquesta (1990)
Batalla, orchestra (????) - ????
Soloist(s) w/Orchestra or Ensemble
Violin Concerto No. 1 (1954)
Violin Concerto No. 2 (1966)
Poema, cello and orchestra (1966)
Piano Concerto (1970)
él y...ellos, violin solo, fl, cl, bsn, tpt, trom, hn, va, vc, db, (1) perc (1971)
Encuentros, 4 percussionist and string orchestra (1972)
Concierro barroco, 2 violins and orchestra (1978)
Interminado sueño, actress, 4 percussionists and [wind] orchestra (1981)
Cello Concerto (1985)
Concerto for 2 Guitars and Orchestra (1992)
Zenzontle, flute and string orchestra (1993)
Chorus w/Orchestra
A Juárez, cantata, baritone, chorus and orchestra (1983)
Un mundo mejor, children's chorus and orchestra (1990)
Himno de los bosques, narrator, chorus and orchestra (1991)
Piedras del viento, narrator, chorus and orchestra (1991)
Visión de los Vencidos, baritone, mezzo-soprano, chorus and orchestra (1993)
Choral
Contravox, chorus, (2) percussion and tape (1976)
Chamber
String Quartet No. 1 (1959)
Divertimento, flute, clarinet and bassoon (1962)
Pentamúsica, woodwind quintet (1963)
Tres formas concertantes, clarinet, bassoon, horn,violin, cello, piano and (1) percussion (1964)
Tres invenciones, flute and viola (1964)
Ambivalencia, violin and cello (1967)
String Quartet No. 2 (1967)
Concierto para 8, violin, double bass, clarinet, bassoon, trumpet, trombone, percussion and conductor (1968)
Diptico I, flute and piano (1969)
Mixteria, actress, flute, viola, trombone, percussion and electronic sounds (1970) ['5 plus 2" ???]
Díptico II, violin and piano (1971)
él y...ellos, violin solo, fl, cl, bsn, tpt, trom, hn, va, vc, db, (1) perc (1971)
a ... , violin and piano (1972) [a ... 2]
String Quartet No. 3 (1974)
Trauma, actress, 4 instruments and tape (1974)
Trio, violin, cello and piano (1974)
Tlachtli, violin, cello, flute, clarinet, horn, trombone and piano (1976)
Tzicuri, cello, clarinet, trombone and piano (1976)
En prosa, flute, oboe, cello and piano (1982)
String Quartet No. 4 (1983)
Poemario, 2 guitars (1983)
Poliptico, 6 percussionists (1983)
String Quartet No. 5, "Xopan Cuicatl" (1988)
Quasi libero, flute and string quartet (1989)
En prosa II, clarinet, violin, cello and piano (1990)
Tercia, clarinet, bassoon and piano (1990)
Instrument and Piano
Suite, violin and piano (1949)
Cuatro piezas, viola and piano (1962)
Sonata, violin and piano (1964)
Diptico I, flute and piano (1969)
Díptico II, violin and piano (1971)
a ... , violin and piano (1972) [a ... 2]
Tres danzas tarascas, cello and piano (1988)
Tres piezas para cello y piano (1988)
Fantasia concertante, cello and piano (1991)
De acuerdo, bassoon and piano (1993)
Solo Instrument
Sonatina, cello (1962)
Reflexiones, violin (1964)
Móvil II, violin [alone or w/tape] (1969)
3 x Bach, violin and tape (1970)
Monólogo, trombone (1971)
Conjuro, double bass and tape (1976)
Oboemia, oboe (1982)
Interecos, (1) percussion and tape (1984)
Palindroma, harp (1984)
Tlapizalli, clarinet (1988)
Tres instantáneas, guitar (1988)
Diálogos, violin (1992)
Piano or Organ or Harpsichord
A lápiz, piano (1965)
Módulos, 2 pianos (1965)
Enlaces, piano (1967)
Móvil (I), piano (1968)
Para Alicia, piano (1970)
Con ánima, piano (1973)
Imaginario, organ (1973)
1 x 4, piano 4-hands (1974)
Once Upon a Time, harpsichord (1975)
Hoy de ayer, piano (1981)
Spinetta con spirito, harpsichord (1986)
Maxienia, piano (1989)
Vocal
Dos canciones (2 songs), female voice and piano (1950)
Ego, cantata, female voice, flute, cello, piano and percussion (1966) [text: M. del Rio: Miralina]
Del viaje inmóvil, voices, instruments, electronic sounds and images (1976)
Manantial de soles, soprano, actor and [wind] orchestra (1984)
Manantial de soles, mezzo-soprano, piano and 6 percussionists (1988)
Incidental/Film
Amelia, film score (1965) [director: J. Guerrero]
Tajimara, film score (1965) [director: J. J. Gurrola]
Lola de mi vida, film score (1965) ?????
El cuarto chino, film score (1966) [director: A. Zugsmith]
Juego de Mentiras, film score (1967) [director: A. Burns]
Mariana, film score (1967) [director: J. Guerrero]
Trabajar Cansa, film score (1967) [director: S. Laiter]
Una señora estupenda, film score (1967) [director: E. Marrin]
Tú, yo y nosotros, film score (1971) [director: G. Martínez]
Muñeca Reina, film score (1972) [director: S. Olhovitch]
La bestia acorralada, film score (1975) [director: A. Mariscal]
Oficio de tinieblas, film score (1978) [director: A. Burns]
Tendencias actuales de la arquitectura mexicana, soundtrack for documentary short film score (1995)
Electronic
Móvil II, violin [alone or w/tape] (1969)
3 x Bach, violin and tape (1970)
Mixteria, actress, flute, viola, trombone, percussion and electronic sounds (1970) ['5 plus 2" ???]
La reunión de los saurios, tape (1971)
Viols, [1 wind instrument] and tape (1971)
Laser I, multimedia/tape (1972)
Música para Federico Silva, multimedia/tape (1974)
Trauma, actress, 4 instruments and tape (1974)
Del viaje inmóvil, voices, instruments, electronic sounds and images (1976)
La casa del sol, musicians, dancers, actors and electronic sounds (1976)
Contravox, chorus, percussion and tape (1976)
Conjuro, double bass and tape (1976)
Canto de los volcanes, tape (1977)
Misa prehistórica, tape (1980)
Interecos, (1) percussion and tape (1984)
ENRÍQUEZ LINKS Works by Genre ~ ~ ~ Enríquez on Enríquez ~ top of page ~
Electroacoustic Music in Mexico (Rodrigo Sigal, Rupkatha Journal)
La Muerte de Manuel Enríquez (Coriún Aharonián, revistas.uchile.cl)
Composer website . . . inquire about Manuel Enríquez: here
Enríquez @ Wikipedia
Enríquez @ Wikipedia.es (in Spanish)
Enríquez @ Answers.com
Enríquez @ Classical Archives
Enríquez @ Classical Net
Enríquez @ ClassicsToday
Enríquez @ La Fondation Daniel Langlois
Enríquez @ Facebook
Enríquez @ IMDb (Internet Movie Database)
Enríquez @ InstantEncore
Enríquez @ MusicWeb International
Enríquez @ MySpaceMusic
Enríquez @ The New York Times
Enriquez @ Omnibiografia.com (in Spanish)
Publisher
Enríquez @ Composer website
Enríquez @ Ars Viva Verlag [Schott Music]
Enríquez @ Coleccion Arion
Enríquez @ Ediciones Mexicana de Música
Enríquez @ Edition Modern
Enríquez @ Editions musicales transatlantiques
Enríquez @ Musica de Concierto de México
Enríquez @ Peermusic
Enríquez @ Schott Music
Enríquez @ Sociedad de Amigos del Centro historico de la Cd. de Mexico
Enríquez @ Tonos Music
Enríquez @ Universidad Nacional Autónoma de México
Enríquez @ Universidad Veracruzana
Streaming Audio
Enríquez @ Classical Archives
Enríquez @ La Fondation Daniel Langlois - Interview
Recordings
Enríquez @ Amazon.com
Enríquez @ ArkivMusic
Enríquez @ CD Universe
Enríquez @ ClassicsOnline
Enríquez @ Discogs
Enríquez @ Naxos
Video
Enríquez @ YouTube
Enríquez @ Google Video
~ top of page ~
Enríquez on Enríquez: Interview (streaming audio)
Composers
Speak on the Web at Pytheas~ click on composer picture to listen ~
Notes
Manuel Enríquez (biography by Armando Torres Chíbrás)
Este compositor mexicano es, sin duda, el más significativo de la segunda mitad del siglo xx. Su larga y fructífera trayectoria ha abarcado todos los campos del quehacer musical, y en todos ellos destacó como un prolífico creador, entusiasta organizador, eficaz administrador y eficiente promotor de la música contemporánea de todas las latitudes, incluida la obra de los compositores nacionales. Por la calidad de su música y los aportes de ésta para la consolidación de un lenguaje contemporáneo, numerosos organismos nacionales e internacionales como el Festival de Donaueschingen, el Ministerio de Cultura de Francia, el Festival de Otoño de Varsovia, el Instituto Nacional de Bellas Artes en México, el Festival Internacional Cervantino, la Secretaría de Educación Pública y la Universidad Nacional Autónoma de México; le comisionaron y encargaron la composición de piezas. En 1982 fue invitado a estrenar sus obras y a dar recitales y conciertos como violinista en diversos países de América, Asia y Europa. Ese mismo año la Academia de Artes en Alemania (DAAD), lo invitó como compositor residente en la ciudad de Berlín. Recibió la condecoración al mérito artístico de la República de Polonia, el premio Jalisco, la medalla José Clemente Orozco, el premio de la Unión de Cronistas de Teatro y Música, el premio de Cine Experimental, el premio Ellas Sourasky, el Premio Nacional de Arte y la Medalla Mozart. Fue integrante de la Orquesta Sinfónica de Guadalajara, de la Orquesta Sinfónica Nacional y del Cuarteto México. Fundó la Sociedad Mexicana de Música Contemporánea y la Sociedad Latinoamericana de Música Nueva. Entre los muchos cargos que le fueron confiados figuran el de director del Conservatorio Nacional de Música, director del Centro Nacional de Investigación, Documentación e Información Musical (CENIDIM), y director de Música del Instituto Nacional de Bellas Artes. Fue vicepresidente del Consejo Internacional de la Música de la UNESCO, miembro ejecutivo de la Comisión de Artes y Letras del Consejo Nacional para la Cultura y las Artes, miembro de número de la Academia de Artes de México y del Seminario de Cultura Mexicana. También perteneció a la Academia de Artes de Alemania, fundador y coordinador de¡lForo Internacional de Música Nueva, y presidente de la Promotora de Compositores de Música de Concierto, así como integrante de la junta directiva de la Sociedad de Autores y Compositores de México. En 1993 fue designado Creador Emérito del Sistema Nacional de Creadores. Fue profesor de la Universidad de California, UCLA, en Los Ángeles, desde 1990. Su obra abarcó todos los géneros: sinfónico, de cámara, vocal y coral, música electroacústica y música para cine, teatro y ballet. Entre los títulos más significativos de su catálogo, que suman casi 150 partituras, sobresalen: Concierto para violín y orquesta, Transición para orquesta, Él... y ellos para violín y conjunto de cámara, Encuentros para cuerdas y percusiones, Inter-minado sueño para voz y orquesta, Cantata a Juárez para coro y orquesta, A 2 para violín y piano, Poemario para dos guitarras, Concierto para violonchelo y orquesta, En prosa para flauta, oboe, violonchelo y piano, Misa prehispánica para sonidos electrónicos, Sí libet para orquesta, Rapsodia latinoamericana para orquesta sinfónico, Tlachtli para siete instru- mentos, entre otras. Falleció en la ciudad de México el 26 de abril de 1994.
Manantial de soles: (Versión II) En 1984, la Secretaría de Educación Pública, a través del festival Internacional Cervantino, propuso a Manuel Enríquez el escribir una obra para celebrar el 70 aniversario del poeta Octavio Paz. Motivado por la profunda admiración que el compositor sentía hacia el poeta, acepta el cargo, estimulado por la condición obvia de basarse en algún pasaje de la obra poética de Paz. De común acuerdo, el compositor y el poeta seleccionaron un poema erótico de exquisita sensualidad titulado Eje. Enríquez utiliza libremente sólo algunas palabras de este poema, para crear un homenaje sonoro que revela inmediatamente su estilo personal. La primera versión de esta obra está escrita para una dotación instrumental compuesta por metales, arpa, percusiones y cuerdas. En 1988 el compositor revisó la obra y elaboró una segunda versión, modificando la instrumentación original. Esta última está pensada para mezzosoprano, actor, piano y seis percusionistas. Desarrolla una obra enormemente evocativa en relación al texto seleccionado, plasmado en una partitura de elegante caligrafía con una notación que es a la vez funcional y simbólica, logrando una notable unidad estilística. La voz grave y cálida del actor introduce las primeras líneas de un diálogo íntimo a la que responde una voz femenina encarnada por una mezzosoprano. El coloquio amoroso que se desarrolla entre las voces enmudece para dejar paso a un crescendo instrumental que desemboca en un poderoso clímax, al cual siguen misteriosos sonidos de la noche, imágenes musicales que evocan sentimientos primarios, para dejar paso a una pareja que en un abrazo funde sus cuerpos y almas para que en el silencio de la obscuridad, brote de ellos un manantial de soles.
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