Composes and for the first time plays the Sinfonía no.4 Romántica with the Louisville Orchestra. Writes Sinfonía no.5commissioned by the Kousseviztky Foundation, and the three-act opera, Los visitantes.

Sinfonía no.3 obtains the Caro de Boesi award in the contest organized by the José Angel Lamas Institute in Caracas. It is played for the first time in December 11 with the Symphony Orchestra of Venezuela, under his direction, at the final concert of the First Latin American Music Festival.

Is invited to direct the Los Angeles Philharmonic at the Hollywood Bowl during the Festival of the Americas, the New York Philharmonic Symphony with three concerts at Carnegie Hall, and give many performances with the Cleveland and Seattle orchestras, the Sinfónica del Aire, and the National Orchestra of Buenos Aires.

The José Ángel Lamas Institution of Caracas invites him to be part of the Qualifying Jury of the Second Latin American Music Festival and to direct three concerts with the Symphony of Venezuela. He also directs the National Symphony of Lima, the SODRE in Montevideo, the Buenos Aires Symphony at the Colón Theatre and the National Radio of Argentina, as well as the Colombia Symphony.
Plays for the first time Los visitantes at the Brander Matthews of Columbia University in New York.

Visiting professor at Buffalo University where he gives several conferences, concerts and a seminar on composition.
Holds the Charles Eliot Norton Professorship in Poetry at Harvard University in Cambridge, which led to his publication of Musical Thought, a book published in 1961.
Receives Mexico’s National Award of Arts and Sciences.
Begins composing Invención para piano.

Directs the Mexican National Symphony, the Boston Symphony, three concerts with the New York Stadium Symphony and two with the Chicago Symphony.
The American Academy of Arts and Sciences in Boston appoints him Honorary Member.

Creates and directs the Composition Workshop at Mexico’s National Conservatory to which Eduardo Mata, Héctor Quintanar and Mario Lavista attend, among others.
He is invited to perform at the Los Angeles Philharmonic, the Vancouver Symphony, the National Symphony of French Radio and Television, the Tucson Symphony Orchestra and gives four concerts with the New York Philharmonic.
The American Academy of Art and Literature of the National Institute of Art and Literature of New York accredit him as Honorary Member of these institutions.

During this period, his activities as guest director intensify considerably. He frequently directs the main orchestras of the United States, Europe and South America.
Records his Concierto para piano with Eugen List as soloist with the Vienna Opera Orchestra, for Westminster records (1962).
Is invited by the Committee of the Dimitri Mitropoulos International Contest of Orchestra Direction to be part of the Qualifying Jury (1963).
The Radio of Southern Germany (Stuttgart) invites him to direct and record his Sinfonías IV, V and VI, as well as the orchestral version of Chacona de Buxtehude
At the request of the University of California, he gives a higher studies course on Composition at said University (March, April and May 1966).
Is Guest of Honor at the Inter-American Music Festival of Puerto Rico, where he plays his Concierto para violín, and at the International Music Festival of Edinburg, where his Concierto para violín is also played with the Scottish Orchestra and Henryk Szeryng as soloist.

He receives the Koussevitsky International Award, given by the Montreux Festival in Switzerland, for his recording of the Sinfonías with Mexico’s National Symphony Orchestra for the Columbia record company.
Is appointed Full Founding Member for Life of Mexico’s Academy of Arts.

Takes over the artistic direction of the Cabrillo Festival, as well as the direction of the orchestra of said festival; he holds these posts for four consecutive years.
During this period he writes Tambuco, Resonancias, Elatio, Discovery, Clío e Initium for orchestra, as well as the Pirámide ballet.

He is appointed head of the Music Department of the National Institute of Fine Arts (INBA, by its acronym in Spanish) and Director of Mexico’s National Symphony Orchestra; he resigns to both posts within a month (January 1972).
LThe Universities of New York, Louisiana, Indiana, San José (U.S.), York, Durham, Sussex, the Northern College of Manchester (England), as well as the Venezuelan Athenaeum and the University of San Juan in Argentina, invite him to give several conferences-concerts on/of his music, while the Maryland Conservatory in Baltimore asks him to give a course on orchestra direction.
Participates in the Third Inter-American Music Festival in El Salvador and directs the orchestras of the University of San Juan (Argentina), the National Orchestra of Buenos Aires, the Costa Rica Symphony, the one in Maracaibo and the National Juvenile Orchestra of Venezuela with which he inaugurates the Sala Rivas and participates at the inaugural concert of the Inter-American Festival of Juvenile Orchestras in Aberdeen, Scotland, and in the same festival in London, England.
He presides over the jury of the Second International Piano Contest Robert Cassadesus at the Cleveland Institute and directs two concerts with the Cleveland Orchestra. (1977).
Receives the Casa de las Américas Prize (1973), the Honor Band 1st. Class Order of Andrés Bello (1975) and is named Honorary Associate of Costa Rica’s Musical Union (1976). The president of Venezuela awarded him the Order of Francisco de Miranda, First Class (1977).

Directs two concerts with the Syracuse Symphony Orchestra at the Civic Center of Syracuse, New York (March) and participates in the 20th Anniversary of the Inter-American Music Festival with a concert at the John F. Kennedy Center for the Performing Arts in Washington, where he plays his Concierto para trombón (May 9) for the first time.
He is awarded a Ph.D. in Arts from Columbia College in Chicago (June 2).
His death takes place in August 2 in Mexico City.