Amadeus Regucera
The work of Amadeus Julian Regucera (b.1984, He/They) engages with the embodied and acoustical energy of sound and the erotics of its production through concert music, installation, performance art, and video. He has had the opportunity to present works around the world: notably, at ManiFeste (Paris, FR), the Festival Musica (Strasbourg, FR), Voix Nouvelles (Asnières-sur-Oise, FR), the Resonant Bodies Festival and the SONiC Festival (New York City), the Havana Festival of Contemporary Music as part of the American Composers Forum artist delegation to Cuba, the Mizzou International Composers Festival, and the Hong Kong Modern Academy, among others. His music has been performed by musicians and ensembles such as Ensemble Linea, Alarm Will Sound, Ensemble Intercontemporain, EXAUDI vocal ensemble, San Francisco Contemporary Music Players, violinist Jennifer Koh, Splinter Reeds, the Left Coast Chamber Ensemble, Duo Cortona, Third Sound, and the University of California, Berkeley Symphony Orchestra. In addition to concert music, his practice intersects with visual and performance art, most notably in RIGOR, a collaboration with visual artist Nicolás Rupcich and commissioned by violinist Jessica Ling (2021); Absence in relief (April 2021) an audio-visual installation commissioned by InterMusicSF and Indexical for the Radius Art Gallery, Santa Cruz, California; IMY/ILY – a monodrama for solo percussionist, commissioned by Andy Meyerson (The Living Earth Show); The trauma you keep safe is the pain your pass along (2018) for flutist, performer, and video; and the installation Communication (2013), for the Kulturzentrum bei den Minoriten in Graz, Austria. Upcoming projects include UNFEELING (She sketches out her dreams on his skin.) for the Wavefield Ensemble (NYC) commissioned by the Fromm Music Foundation (spring 2024). Amadeus holds degrees in Music from the University of California, San Diego (B.A. 2006) and the University of California, Berkeley (PhD, 2016). Beginning in September 2022, Amadeus is Curator of Music at the Curtis R. Priem Experimental Media and Performing Arts Center (EMPAC) at Rensselaer Polytechnic Institute.
In recent work, Amadeus explores what he calls the “erotics” of sound production, or how a body, as a physical form and as a container for personal experience, is a nexus for a multiplicity of possible meanings. His current practice stems from the belief that each body is physically unique and comes with its own manifold history which can and should be expressed in the music. Amadeus sees the work of music as finding and cultivating lyricism while foregrounding the [physical] struggle that creates it. Inspired and educated by the musical modernism of the 20th century, Amadeus wishes to expand the genre’s potential as an expressive tool for composers beyond its origins. His work is often developed in close collaborations with performers which provoke conversations about consent and trust, complicity and gaze, and power dynamics in performance.
