Ambitious Proms Programme Fills St. Thomas’ Church With Joyous Energy
July 2026
This third annual Lymington Proms Concert presented a fascinating programme of musical contrast, charting a course from the 16th century choral masterpiece of Thomas Tallis, ‘Why Fum’th in Fight’, full of delicate harmonies, to the cataclysmic scale of Mahler’s Resurrection Finale.
To tackle such a vast, emotional and stylistic range, in one concert, was the challenge that Phil Daish-Handy set the Lymington Choral Society and the Nova Foresta Philharmonic.
The Prom opened with Copland’s Fanfare for the Common Man, showcasing the brass section of the orchestra and setting the scene for the larger work ahead.
The first half of the programme offered moments of real poise. Barber’s Agnus Dei is notoriously challenging because of its incredibly slow tempo, demanding vocal control and sustained breathing. With Elgar’s Ave Verum, the Choir performed at its best, achieving a beautiful, warm tone and creating a comforting atmosphere. I wanted to hear it again. Immediately!
Unusually, the boundary between performer and the audience dissolved at the end of the first half, rather than the second. Flags in hand, the audience rose as one with the performers, singing Jerusalem and Land of Hope and Glory, demonstrating the power of choral singing to bring people together.
In tackling the Mahler, together with vocal soloists Helen Lacey and Annie Rielly, the Choir and Orchestra showed immense dedication and musicality. The sheer bravery of bringing this masterpiece to the stage, left the audience with a memorable and truly powerful experience.
As Phil Daish-Handy commented, “How many towns can boast its own Choir and Orchestra.”
And I should add, “And in how many towns can you hear Mahler performed, LIVE!”
Craig McEwan
