MEET
Carl C. Bettendorf

Carl C. Bettendorf is a NYC-based composer/conductor. Born in Germany, he studied
with Wolfgang Rihm before receiving his doctorate from Columbia University under
Tristan Murail. Currently, he serves on the composition faculty of Rowan University (Glassboro, NJ).

 

His numerous awards include residencies at the Cité des Arts (Paris), Villa
Concordia (Bamberg, Germany), Casa Baldi (German Academy in Rome, Villa Massimo), and MacDowell as well as commissions from the Fromm Foundation and the Ralph
Kaminsky Fund.

 

As a conductor, Bettendorf has worked with ensembles in New York (Wet Ink;
Ghost and Talea ensembles) and abroad (piano possibile, Munich; Ostravská banda, Czech
Republic), and was director of the Manhattanville and Bates College orchestras. Opera
credits include Bard College and the Opéra national de Montpellier (France), and he has
served as assistant conductor of the Columbia University and American Composers
orchestras. He has recorded for Albany, ArtVoice, Carrier, Cybele, Hat Hut, Indexical,
New Focus, New World, and Tzadik.

​

BAFFA is so excited to have Carl as their Guest Orchestra Director for our upcoming concert, "Enchanted Overtures & Epic Flights". BAFFA was able to interview Carl and ask some questions about his experience as a music director and musician.

​

Why were you interested in joining BAFFA as Orchestra Director?

"As a composer of “contemporary classical” music—as much as a I hate such labels—I am always looking for opportunities to conduct more “standard” repertoire, from the staples of the Classical and Romantic periods to Broadway and film scores. Also, I watched many of the videos on the BAFFA YouTube channel and felt like the orchestra has a lot of potential, from the quality of music-making to the positive impact on the local community."

​

Can you describe your favorite experience with conducting musical ensembles?

"For me, it’s all about the music itself. It’s such a privilege to lead an effort to make music together as a large group so I enjoy every moment of it. Obviously, there is satisfaction in reaching a certain level of “perfection,” when all the work from the rehearsal process is coming together and a performance goes well—both on a “technical” and a musical/spiritual level."

 

What was the most challenging piece of music that you have conducted? Where was it and why was it so challenging?

"That would definitely be one of the many thorny avant-garde pieces I have conducted, by composers you have likely never heard of. Some names and works that come to mind are Brian Ferneyhough, Bernhard Lang, or Elliott Carter’s opera, “What Next?” All of them feature constant meter and tempo changes, complex rhythms, and other difficult elements of coordination."

​

What are the feelings that you experience when conducting/directing an orchestra? Do you have different feelings from conducting rehearsals to conducting concerts?

"Obviously, when conducting a rehearsal, you have the benefit of being able to stop and try a passage again. There are a lot of technical elements involved, on my end the ability to communicate clearly—from beating technique to verbal instructions—and on the musicians’ end the effort to achieve the results we are aiming for. I also have to keep an eye on the time and try to balance working on details with individual sections or groups of the orchestra while not letting the others get bored. During the performance, it’s all about leaving the technical elements behind to make music together and connect with the audience, although you have to find the right balance between “letting go” and still being in control."

 

What's the most unexpected thing that's ever happened to you while conducting/directing?

"When I conducted the French premiere of Elliott Carter’s opera, at one performance of the run one of the female leads forgot her line towards the end of the very frantic finale, but her entrance is a very important cue for the rest of the ensemble. Luckily, the tenor covered her line so nobody got thrown off!"

​

What has been your favorite experience been while being involved in an orchestra, either as a conductor or musician?

"I once got to play the “cannon” in Tchaikovsky’s 1812 Overture, which was a lot of fun!"

​

What are you most excited about with directing the BAFFA Symphony Orchestra?

"I think we have selected a varied and entertaining program full of great music, and I can’t wait to bring it to life with the wonderful musicians of the orchestra. I am equally excited about meeting the audience, and hopefully I get to chat with some members of the audience after the concert."