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CWB looking at this list singled out the first performance of Bach's B Minor Mass in Ilkley, on 14th April 1973, as the finest concert he remembers, but, sadly, the King's Hall was not full. It was also the work that he chose to conduct on the occasion of his final concert on 26th April 1980, when he retired from his post as conductor to the Ilkley Choral Society.
During the thirty one years in which he was the 'maestro', CWB strongly maintained the 'Messiah' tradition. Each year the choir sang the work in Ilkley, usually in the King's Hall, and in Otley, at the ParishChurch. The soloists were often nationally famous singers, or would become so, like Elizabeth Harwood, Alfreda Hodgson, Stephen Manton and Roger Stalman. lt is invidious to single out these from among many famous soloists who have stood before Ilkley audiences, but CWB was very keen to give young singers opportunities to be heard here, and this has oftenenhanced their reputations, as well as that of the choir itself. After hearing 'Messiah' in the King's Hall on 17th December 1971 when Honor Sheppard, Margaret Hallworth, John Sowerby and Roger Stalman were the soloists, the music critic who wrote up the concert for the Ilkley Gazette, George Sykes. said that "the sound of this choir brings me here each year". (He also noted that the new staging that was being used in the Hall was a major improvement, considerably helping the audience to enjoy the performance).
During the early years, when it was not easy for northern audiences to hear or see opera performed, CWB introduced concert performances of well-known works such as Bizet's Carmen, Gounod's Faust and Verdi's Aida. By and large, however, the repertoire was drawn from the oratorio and sacred music tradition, and covered most of the well-known works, with particular emphasis on those by Handel and J. S. Bach. Since CWB's retirement, this has largely been maintained, though with a reduction in the frequency of 'Messiah' performances and the introduction of works by more recent composers.
In the 1980s the choir has been tutored and conducted by Marcus Huxley, and, successively, by Michael Harris and Matthew Beetschen, both assistant organists at Leeds Parish Church. When Michael Harris was appointed assistant organist at Canterbury Cathedral, Darius Battiwalla, organ scholar at Leeds University, stepped in at short notice until Matthew Beetschen was able to take up his appointment.
The Society's performances have been greatly assisted over the,years by orchestral ensembles, particularly in King's Hall concert. In churches and chapels, there has always been the benefit of an organ, and for many years Rupert Tong was the chosen concert organ accompanist. More recently, Simon Lindley of LeedsParishChurch and Robert Walker of 0tley have done the honours. When CWB wanted an orchestra, he very often turned to his great friend and cellist, Douglas Bentley, to bring together a number of professionals. In the1980s we have been supported on a number of occasions by the Harrogate Pro Musica Ensemble, and the St. Peter's Chamber Orchestra from Leeds. Our present conductor, Matthew Beetschen has formed the Wharfedale Sinfonietta, which will be on hand to give professional orchestral support to our concerts when needed.
Over the past twenty-six years, the Society hasenjoyed and benefitted greatly from the services of Catherine Woodhouse, as rehearsal accompanist, harpsichord continuo player in many concerts and as a soprano in the choir, when not otherwise engaged. Before her, the choir rehearsals were accompanied by Mrs. E. Crawshaw, Mr. N. Tomblin, Mr. S. Ross, and Mr. M. Burman.
As Annie Patterson indicated at the turn of the century, a lot depends on an efficient organisation behind the choir.
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