The sensitivity towards sound appeared very early in the life of Spanish composer Enrique Muñoz (b.1957, Robledollano, Cáceres, Spain), through the contact with nature and the folklore of his hometown, even though his musical studies started later on. The sound of the wind, birds, water, bells, folk music, the sax, etc. and the character of the people, were an influence that would be reflected many yearslater in many of his compositions: Ecos del Recuerdo, Cuerpo Festivo, Contornos, Baque, Belaí ( I, II, III, IV V y VI), etc.

Later, he lived a few years in Paris, which resulted in a radical change in many aspects. During this time appeared from chance, and as a symbol, the number 21, that somehow can be understood as the beginning of his musical career. Also, this mathematical element would be reflected in the subsequent catalog of the composer:“ 7 x 3”, 21 Gouttes de Musique, Al Alba (12+1), and in creative elements, not only referring to titles of works.

Following his return to Spain, he studied music at the Madrid Royal Conservatory and the Municipal Conservatory of Barcelona, obtaining the degree of Senior Professor in the fields of composition (End of Career Prize), Conduction, Musical Pedagogy, and Guitar. He also studied philosophy at the Complutense University of Madrid and completed his education through various national and international courses, earning his PhD at the Autonomous University of Madrid, in the Department of Evolutionary Psychology. His doctoral thesis was focused on the understanding of contemporary music at the level of primary school. It is at this university where he teaches since 1991, he is currently accredited as University Professor and is the conductor of the (university) choir and orchestra. Therefore, his musical work has been developed in three fields, as a composer, pedagogue, and performer.

He has premiered his compositions both in Spain and abroad, obtaining several awards: “VI Tribuna de la Fundación J. March ”, “Premio Iberoamericano -Reina Sofía- modalidad de composición Coral del Ayuntamiento de Madrid” y “Premio Reina Sofía V Centenario -El Sinfonismo Iberoamericano- de ARLU”. He has been commissioned musical works and has performed premieres with major groups and organization dedicated to contemporary music: CDMC, G. Circle, LIM, Sax Ensemble, Cosmos, Nuevo Ensemble de Segovia, Modus Novus, Ministry of Culture, Sports, and Tourism of the Community of Madrid, Berg Trio, Soli Tutti (París), De Caelis (Francia), Tanit Theatre de Lisieux (Francia), Catalan Chamber Orchestra, Extremadura Orchestra, Sonido Extremo, Dúo Contracello (Portugal), La Fenice Theatre (Venice) for the Ex Novo Ensemble, etc. His works have been heard in Spain, France, Portugal, England, Italy, Romania, Finland, the United States, Canada, Brazil, Argentina, Mexico, Japan, Taiwan, Senegal, etc.

His evolution as a composer has led him to a personal search, from a solid background, that has led him to a language that is honest to himself. This position has involved a constant desire to avoid anchoring himself in processes considered overcome, looking for new alternatives to the process of musical creation. This attitude is evident if musical works from his early career, such as the Sonatina for Violoncello and Piano or Trio for Flute, Viola and Guitar are compared with later works such as Color of the Nightand Sombras or the series Belai. However, there have always been elements that have remained constant, though treated from different perspectives: the taste for color, and the importance of dynamics.

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