Music along the Rhine, 8–15 May 2025

CELEBRATING MUSIC AND PLACE

8–15 MAY 2025

Outstanding music, beautiful countryside and historic towns along Germany’s principal river.

MOZART ALONG THE DANUBE

28 JULY–4 AUGUST 2024

THE DIVINE OFFICE

30 SEPTEMBER–4 OCTOBER 2024

OPERA IN SICILY

18–24 OCTOBER 2024

MUSIC ALONG THE RHINE

8–15 MAY 2025

COTSWOLDS CHORAL FESTIVAL 16–20 JUNE 2025

MUSIC ALONG THE SEINE

16–23 JULY 2025

HANDEL IN VALLETTA NOVEMBER 2025

UK SHORT CHAMBER MUSIC BREAKS 2024/25: Kaleidoscope Chamber Collective with Matthew Rose | 15–18 November 2024

The Marmen Quartet | 11–13 April 2025

Photograph ©Bill Knight.

3. AN INTRODUCTION TO THE FESTIVAL

6. THE FESTIVAL PROGRAMME

The day-by-day itinerary including concert details.

12.

DISCOVER THE PLACE

The Rhine Valley: vine-clad hills, castles and beautiful countryside.

14.

MEET THE MUSICIANS

International musicians of the highest calibre.

18.

ACCOMMODATION & PRICES

Information about the ship, and prices for the festival package.

19.

BOOKING

Details of how to book; find the booking form and our conditions on pages 21–23.

Published May 2025

20.

TRAVEL OPTIONS

A range of ways to travel to and from the festival.

MUSIC ALONG THE RHINE: AN

INTRODUCTION

There is nothing to match the experience of floating through some of Europe’s loveliest landscapes on the deck of a comfortable river cruiser.

There is also little to match the pleasure of a curated sequence of concerts in beautiful historic buildings. This event combines the two to produce an experience which is quite exceptional and unique.

EIGHT PRIVATE CONCERTS IN BEAUTIFUL AND APPROPRIATE HISTORIC BUILDINGS

There have been twelve previous editions of Music Along the Rhine , the first in 1997. Every one has been different, but all have been characterised by the highest quality of performance in venues which are chosen for their beauty or charm or for their music history connection. All are relatively small, leading to an informality and intimacy of musical communication which engenders a heightened artistic experience.

MUSIC FROM THE BAROQUE TO LATE ROMANTIC

Many of the greatest composers of both the Baroque and Romantic eras are represented here in force, with Bach, Telemann and Handel contributing to lively programmes. Brahms is a running motif, including his phenomenal piano concertos, a symphony and violin sonatas, with Schumann a close second. Some core classics by Mozart and Beethoven round out the set, as well as lesser-known delights from all eras.

MUSICIANS OF THE HIGHEST CALIBRE

As with all Martin Randall Festivals, the musicians are among the finest in their fields. A constellation of soloists includes internationally renowned artists Isabelle Faust, Kristian Bezuidenhout and Sophie Bevan. Amarilis Dueñas (cello), Joseph Moog (piano) and Marie-Sophie Pollak (soprano) all appear with renowned larger ensembles: Holland Baroque, Basel Chamber Orchestra, Baden-Baden Philharmonic and Barocksolisten München. The dynamic Consone string quartet also join, and Tabea Debus performs on the recorder with duo partner Alon Sariel on the lute.

ACCOMMODATION ON A FIRST-CLASS RIVER CRUISER

Acting as both hotel and principal means of transport, MS Amadeus Cara sails from Amsterdam to Basel, enabling passengers to attend all the concerts and see some of the finest art and architecture in the region without having to change hotel or drive long distances. The experience differs significantly from conventional cruising in many ways: little regimentation, no obligatory seating plan, no on-board entertainment, minimal announcements –and absolutely no piped music!

THE FESTIVAL PACKAGE

The price includes:

— Eight private concerts in historic and appropriate buildings.

— Daily talks on the music.

— Accommodation on a first-class river cruiser for 7 nights.

— All meals, from dinner on the first day to breakfast on the last, with wine, and interval drinks.

— Coach travel between airport and ship or hotel, and to concert venues when not reached on foot.

— All tips, taxes and admission charges.

— A detailed programme booklet.

— The assistance of an experienced team of festival staff.

THE SPEAKER

Dr Katy Hamilton Writer, broadcaster and musicologist, she has provided talks for, among others, Wigmore Hall, BBC Proms and the Oxford Lieder Festival. A frequent contributor to BBC

Radio 3, Katy’s specialism is the music of the 19th and early 20th centuries, and she is the editor of Brahms in the Home and Concert Hall (2014) and Brahms in Context (2019). Katy has taught at the Royal College of Music, City Lit, and the Universities of Nottingham and Middlesex.

MARTIN RANDALL FESTIVALS

This festival has been devised and planned by Lizzie Watson and Martin Randall. It follows the format that Martin established 30 years ago with our first Danube Music Festival, of site-specific concerts for a private audience. Since then we have organised festivals along the Rhine, Loire, Main and Seine rivers; in Oxford, Suffolk, York, Lincoln, Canterbury and the West Country; to Seville, Toledo, Burgos, Santiago, Venice, Florence, Rome, Bologna, Sicily, and the Veneto; to St Petersburg, Prague, through Thuringia, and the Alentejo.

WALKING THE RHINE VALLEY

7–14 May 2025

Lecturer: Richard Wigmore

The walking alternative mixes the concerts with country walks. Six of the concerts are included, and there are six walks of around two hours through some of the most attractive stretches of countryside close to the Rhine. Participants stay in hotels rather than on the ship. The group is limited to 22 participants. Please contact us to register your interest or search for full details on www.martinrandall.com.

PRE- & POST-FESTIVAL TOURS

You can also choose to join a pre- or postfestival tour: Art in the Netherlands (2–8 May 2025) or Art in Switzerland (15–20 May 2025). Further details will be available in a few months time (this brochure was published in May 2024). Please contact us to register your interest or search for full details on www.martinrandall.com.

Illustration:

The Rhine at Oberwesel, engraving by Captain Robert Batty 1825.

THE FESTIVAL PROGRAMME

Day 1

Thursday 8 May

Amsterdam

Join one of our festival flights or trains (see page 20) or make your own way to the ship.

Amsterdam is as distinctive as it is beautiful. It grew rapidly in the 16th and 17th centuries from a small and precarious sea port to become the greatest trading emporium in Europe. With its concentric canals and close-set brick merchant houses, soaring churches and picturesque alleys, the inner city has hardly changed since its heyday.

Board the ship, MS Amadeus Cara , from 4.00pm. Afternoon tea is available. An early dinner precedes the concert.

Felix Meritis’ oval concert hall was the main music hall in Amsterdam until late into the 19th century and enjoyed a great international reputation. Many famous musicians performed there, including Robert and Clara Schumann, SaintSaëns and Brahms. The small hall of the Concertgebouw is a replica of this concert hall, where our concert takes place.

Concert, 8.30pm:

Amsterdam, Felix Meritis Konzertsaal Baroque virtuosity in Amsterdam

Holland Baroque

Judith & Tineke Steenbrink

Artistic Directors

Amarilis Dueñas cello

Superb cellist Amarilis Dueñas joins Holland Baroque for this concert of virtuoso instrumental music of the 18thcentury – the period of the hall – from Italy, Germany and the Netherlands. Amsterdam was a major centre of music publishing and a hub for cross-pollination among composers. Locatelli lived here, Handel visited several times, and here the works of Corelli and Vivaldi were printed and spread throughout Europe.

There is also a selection of Netherlandish popular music, defined by Etienne Roger’s Old and new Dutch peasant songs and country dances 1701–1714, and improvisations and compositions by Dueñas and Judith Steenbrink.

Overnight Amsterdam.

Illustration: Amsterdam, watercolour by Nico Jungman publ. 1904.

Day 2

Friday 9 May

Schloss Lembeck

Leave the Netherlands and enter Germany shortly after daybreak, sailing along the Lower Rhine throughout the rest of the morning. There is a lecture and lunch, but otherwise free time until early afternoon.

Moor at Wesel and drive to Schloss Lembeck near Dorsten, a delightful moated Wasserschloss (‘water castle’) situated in a park. It dates from the 17th century and retains its historic character. Our concert takes place in a small hall hung with ancestral portraits. Due to the size of the hall, the concert is repeated.

Recital, 3.15pm or 4.45pm:

Schloss Lembeck, Festsaal Sounds familiar

Tabea Debus recorder Alon Sariel lute

Tabea Debus and Alon Sariel delve into works that emerged from three of the most prominent musical families of the German Baroque period. The lute and recorder were especially popular in this era, and ideal for music-making in the home. JS Bach’s lute works were probably intended for the famous Dresden lutenist Sylvius Leopold Weiss. The Partita BWV 1006 is a lute transcription of the popular E major Violin Partita. Weiss and his lutenist brother Johann Sigismund were also gifted composers. On a blind taste you might mistake the Sonata and Fantasia played here for Bach.

‘ The variety and quality of the music was terrific... the best musical week of my life.’

Day 3

Saturday 10 May

Cologne, Bonn

Two generations earlier, the virtuoso violinist Heinrich Biber composed his poignant Rosary sonatas for Salzburg Cathedral. Moving forward to the mid-18th century, the Harp Sonata by JS Bach’s second son, Carl Philipp Emanuel, mingles galant elegance with his own brand of waywardness.

Return to the ship in the evening and sail overnight from Wesel to Cologne.

Cologne was one of the largest and most flourishing cities in northern Europe under the Romans and during the Middle Ages, and again in the 19th century. The enormous and perfectly proportioned Gothic cathedral dominates a historic centre which possesses several major Romanesque churches and world-class museums and galleries. There is a free morning for exploration – many of the most important sights are within walking distance of the mooring.

Lunch is provided on the ship as usual, while sailing from Cologne to Bonn, with a talk on the music during the journey.

Famously disparaged as a village by the diplomatic corps when it was capital, Bonn had in fact been a significant centre of culture while seat of the Elector Archbishops of Cologne in the early modern period. In the 18th century a second-rate tenor inclined to drink, named Johann van Beethoven, was employed at the archiepiscopal court. His son was a better musician. This evening’s recital takes place in the Kammermusiksaal, a handsome modern chamber music hall attached to the Beethoven family home within walking distance of the mooring.

Recital, 8.15pm: Bonn, Beethoven Haus, Kammermusiksaal Brahms & Schumann sonatas

Isabelle Faust violin

Alexander Melnikov piano

Photograph ©Ben Ealovega.

THE FESTIVAL PROGRAMME

Day 4

Sunday 11 May

The Rheingau

Aged 57, Johannes Brahms was contemplating early retirement. Happily for us, his encounter with the clarinettist Richard Mühlfeld made him think again. Inspired by the liquid beauty of Mühlfeld’s playing he created four autumnal masterpieces for clarinet, including the two sonatas, Op. 120. Brahms published these in alternative versions for viola. With few adjustments, they also work beautifully on the violin. Schumann’s restless, impassioned late D minor Violin Sonata, with its distant echoes of Bach, makes a natural fit with the Brahms, while atmospheric miniatures by Webern and Kurtág add a dash of 20thcentury astringency.

Overnight in Bonn.

Illustration:

Pfalz

Most of the morning is spent sailing through the Middle Rhine, the most dramatically picturesque stretch of the river. See vine-clad hills with castles on many of the peaks, and charming little towns and villages at the water’s edge. There is a talk on board before mooring at Rüdesheim after lunch.

Schloss Johannisberg is a fine classical mansion built in the early 18th century, refurbished by the Prince Metternich, Austrian Chancellor, in the early 19th century and again 1945–64 after wartime destruction.

Recital, 4.15pm

Schloss Johannisberg Lieder

Sophie Bevan soprano

Ryan Wigglesworth piano

Marriage is the theme linking the Strauss and Schumann songs that bookend Sophie Bevan’s programme. Richard Strauss presented his four songs Op. 27, including the rapt Morgen , as a gift to Pauline De Ahna on their wedding day in 1894. Writing to his fiancée Clara Wieck in May 1840, Robert Schumann euphorically described his Liederkreis on poems by Eichendorff as ‘my most romantic music ever, with much of you in it, dearest Clara’. They would marry in September that year. Between these well-loved songs Sophie Bevan and Ryan Wigglesworth perform a group of melodically appealing songs by the little-known Austrian Johanna MüllerHermann (1868–1941), whose style lies somewhere between Brahms and Strauss.

Sail overnight to Speyer.

Castle and the town of Laub on the Rhine, lithograph c. 1820

‘ Superb. Introduced me to some new music and composers. The daily talks by Katy were outstanding.’

Day 5

Monday 12 May

Speyer, Baden-Baden

Moor at dawn in Speyer. Separated from the river by wooded parkland, the little city is dominated by the largest Romanesque cathedral in Germany, burial place of the Salian emperors. There is some free time here.

The interior of the Church of the Holy Trinity retains its early 18th-century appearance in its entirety with three tiers of galleries and an abundance of carved woodwork.

Concert, 11.00am:

Speyer, Church of the Holy Trinity ‘ Und meine Seele spricht ’ (‘And my soul speaks’)

Barocksolisten München

Dorothea Seel artistic director Marie-Sophie Pollak soprano

Music by the two Baroque giants Bach and Handel, born within a few weeks and 150 miles of each other, form the backbone of this concert by the Barocksolisten München. Highlights include arias from Handel’s Brockes Passion – now entering the mainstream after years of neglect –and a selection of Bach arias, including the exquisite opening lullaby from Cantata 170, Vergnügte Ruh . A rousing, French-style Overture by Bach’s friend Telemann opens the programme, while a concerto and aria by the hugely successful opera composer Johann Adolf Hasse are beguiling examples of the newly fashionable galant style.

Lunch on the ship and sail to Rastatt, the next mooring point. There is a talk on the music during the journey.

An early dinner precedes the drive to Baden-Baden. One of the most prestigious spa towns in Europe, in the 19th century the rich, powerful and talented gathered here, including leading composers. Brahms stayed for several summers; his apartment is a museum.

Concert, 8.30pm:

Baden-Baden, Kurhaus

Brahms Piano Concertos

Baden-Baden Philharmonic Orchestra

Heiko Mathias Förster conductor

Joseph Moog piano

Beloved staples of the Romantic repertoire, Brahms’s two piano concertos both have a symphonic weight and amplitude. Yet otherwise they could hardly be more different. Conceived in the wake of Robert Schumann’s final breakdown, the First Concerto mingles volcanic youthful despair with otherworldly balm. A quarter of a century later, Brahms told a friend that he had composed ‘a very small piano concerto, with a tiny wisp of a scherzo’. No one did heavy irony like Brahms. That ‘very small’ concerto, with its mix of leonine strength and lyrical charm, turned out to be the most monumental piano concerto anyone had composed up to that time.

Sail overnight to Breisach.

Illustration: Speyer Cathedral, wood engraving c. 1880

THE FESTIVAL PROGRAMME

Day 6

Tuesday 13 May

Breisach

A talk on the music takes place during morning sailing, before mooring at Breisach just before lunch. There is time to explore this attractive town which is built on a hill rising from the water’s edge. There is a fine Gothic church at its summit.

In the afternoon drive to Sankt Peter im Schwarzwald, where our concert takes place.

A Benedictine Abbey until 1806 and a seminary until 2006, the buildings of the Abbey of St Peter comprise one of the most complete and well preserved examples of a late-Baroque (architecture) and Rococo (most of the decoration) abbey complex in Catholic Germany. The Fürstensaal (Hall of Princes) was used for receptions and festivities relating to the temporal role of the abbey.

Concert, 4.15pm:

St Peter im Schwarzwald, Fürstensaal Mozart for Kenner and Liebhaber

Consone Quartet

Kristian Bezuidenhout harpsichord

Mozart was especially pleased with the quintet and concerto performed here, both dating from his early 1780s’ heyday as composer-performer in Vienna. K415, played in Mozart’s own reduction for string quartet, is the grandest of a group of three concertos designed to appeal both to Kenner – connoisseurs – and Liebhaber –ordinary music lovers.

The concerto’s first movement also reveals Mozart’s recent immersion in the music of Handel and Bach. After a concert in which he played his fabulously inventive

piano and wind quintet – heard here in an arrangement for keyboard and strings – Mozart waxed lyrical to his father in Salzburg: ‘I consider it the best work I have ever composed’. An exaggeration? Perhaps, but not by much.

Dinner on the ship. Overnight in Breisach.

Day 7

Wednesday 14 May

Basel

The ship sails to Basel, and moors after a morning talk.

Straddling the Rhine at the uppermost point for shipping, the Swiss city abuts the borders of France and Germany. It retains much of its centuries-old streetscape and architecture, including a fine medieval cathedral, and the Kunstmuseum is Switzerland’s finest gallery of historic art. There is some free time to explore the city.

Don Bosco is a modern, almost industrial concert hall of whites and muted greys, converted from the former Roman Catholic Don Bosco Church and completed in 2020. Paul Sacher, the namesake of the main hall, was founder-conductor of the Basel Chamber Orchestra in 1926 and immensely wealthy. He commissioned works from many wellknown composers, including Stravinsky, Bartók, and Richard Strauss, who features on our programme today.

Concert, 4.00pm:

Basel, Don Bosco, Paul Sacher Saal Grand finale

Basel Chamber Orchestra

Marc Minkowski conductor

Influenced by his horn-playing father, who loathed ‘modern’ music, Wagner especially, the teenaged Richard Strauss revered Mozart above all other composers. In 1881, aged 17, he paid overt homage to his idol in his one-movement E major Serenade , modelled closely (and why not?) on Mozart’s Gran Partita for 13 wind instruments, K361.

Illustration, right: Basel, steel engraving c. 1840; photograph above ©Ben Ealovega.

Two years later Hans Richter conducted the triumphant Viennese première of Brahms’s Third Symphony, dubbing it the composer’s Eroica . Yet the music’s heroic aspirations are shadowed with Brahmsian musings and questionings, not least in

‘As always the people who join the trip are a great bonus. So many interesting conversations.’

Day 8

Thursday 15 May

Basel

Meet the Musicians

See pages 14–17 for their biographies.

Coach transfers depart between 9.30am and 12.00 noon. See page 20 for the flight and train options available for returning to London.

More about the concerts

Duration. The duration of most of the concerts is between one and two hours; all concerts longer than 75 minutes have an interval.

Seating. Seats are not numbered – you sit where you want, or where space is left. There are pews in some churches but most seating is shaped or upholstered chairs.

Private. All eight concerts have been set up by Martin Randall Travel exclusively for those who buy the complete package which includes accommodation, dinners, talks etc. as well as access to the concerts.

Audience size. There will be up to 140 participants on the festival. One of our venues cannot hold this number, so at this the performance will be repeated.

Acoustics. This festival is more concerned with locale and authenticity than with acoustic perfection. The venues may have idiosyncrasies or reverberations of the sort not found in modern concert halls.

Changes. Musicians fall ill, venues may close for repairs, airlines alter schedules: there are many circumstances which could necessitate changes to the programme. We ask you to be understanding should they occur.

Floods and droughts. We cannot rule out changes to the programme arising from exceptionally high or low water levels on the Rhine, either of which may bring river traffic to a halt. These might necessitate more travel by coach or the loss of a concert, though we would always try to minimise the impact on the itinerary.

DISCOVER THE PLACE

The Rhine is one of the world’s great rivers; arguably no other has served such a prominent role in shaping the history and culture of a continent.

On the way from its source in the Swiss Alps to its extinction in the North Sea Basin, the Rhine traverses more than a thousand kilometres and passes through four countries.

For millennia the river has been a vital trading route, linking people across a broad stretch of Europe. At the same time it has always been a boundary, a border, demarcating cultures and nations and empires. It once constituted the Roman Empire’s northern frontier, and there is still much significant archaeology to be found along its banks.

We begin in the Rhine delta, and soon move into the charming scenery of the Lower Rhine. With pollarded willows and grazing cattle interspersed with building clusters of the once heavily industrialised Rhine-Ruhr valley, it is still the largest conurbation in Germany today, the river having once been the heart of Germany’s industrial revolution.

The river’s loveliness reaches a peak in the wine-producing region of the Middle Rhine which starts with a deep gorge, a stretch much evoked in German folklore, poetry and music. On towards the river’s source, we pass through a variety of landscapes and urban scenes. North of Basel, with France on one side, the river is flanked by wooded hills and pasture and is populated by several historic towns.

There is some time to explore a selection of the towns, palaces and gardens along its course, to see some great art and architecture, and to watch the countryside slide by as you travel along Germany’s most important river.

Illustration: The Rhine, ink drawing and watercolour c. 1850.

Ready to book?

See page 19 for details.

MEET THE MUSICIANS

ISABELLE FAUST

Whether in the Baroque style, in the grand concertante gesture or an intensive chamber music exchange, violinist Isabelle Faust always captivates with her high artistic authority and power of presentation.

After winning the renowned Leopold Mozart and Paganini competitions at a very young age, she soon gave regular performances with major international orchestras and has developed long-term relationships with conductors Andris Nelsons, Giovanni Antonini and Sir Simon Rattle, with whom she toured with in March 2024.

Recent highlights include a celebration of György Ligeti’s 100th birthday with Les Siècles and François-Xavier Roth, collaborations with multiple world-famous orchestras, and chamber music projects with Antoine Tamestit, Kristian Bezuidenhout, Anne Katharina Schreiber and long-standing duo partner Alexander Melnikov.

ALEXANDER MELNIKOV

Faust’s long-standing duo partner, pianist Alexander Melnikov, is also an artist of broad stylistic perspective. He is just as much in demand as a specialist for historical keyboard instruments as he is as a charismatic performer of Romantic repertoire.

Melnikov completed his studies at the Moscow Conservatory, and was awarded important prizes at eminent competitions such as the International Robert Schumann Competition in Zwickau (1989) and the Concours Musical Reine Elisabeth in Brussels (1991).

Known for his often unusual musical and programmatic decisions, Alexander Melnikov developed his career-long interest in historically informed performance practice early on. He performs regularly with distinguished period ensembles including the Freiburger Barockorchester, Musica Aeterna and Akademie für Alte Musik Berlin, and also as a soloist, with many top orchestras.

Described by The Times as a ‘charismatic virtuoso’, Tabea Debus is constantly exploring the horizons of music for recorder. As a performer, collaborator and teacher she travels widely across Europe and the USA, and has released six solo discs. Tabea has been awarded numerous prizes, such as the Soloists Prize at the Festspiele MecklenburgVorpommern and first prize at the SRP/Moeck International Solo Recorder Competition.

She is recorder professor at the HMTM Hannover and regularly delivers both masterclasses at conservatoires including at the University of Music and Performing Arts Vienna, the Royal Academy and Royal College of Music, as well as workshops to children across the UK and beyond.

For the past decade, multiinstrumentalist Alon Sariel has been breathing new life into the lute, inspiring critics and audiences alike with his contagious musicianship and flawless technique. With a record of over a thousand concerts in more than 35 countries, he maintains a multifaceted career as a soloist, chamber musician and artistic director.

In his current recording project Plucked Bach (Pentatone), Sariel approaches Bach’s solo music in enticing new arrangements on different mandolins and lutes, the baroque guitar and the oud. For the Beethoven anniversary in 2020, he was invited by Naxos to record the composer’s works for mandolin and fortepiano. With his album Telemandolin (Berlin Classics) Sariel has become the first mandolinist to be awarded an Opus Klassik award.

Photographs, L–R: Isabelle Faust & Alexander Melnikov ©Marco Borggreve; Tabea Debus & Alon Sariel ©Philine Bunte.

TABEA DEBUS

ALON SARIEL

BADEN-BADEN PHILHARMONIC

The Baden-Baden Philharmonic Orchestra has a long and illustrious history dating back to the mid-18th century. Its list of soloists reads like a Who’s Who of music history (Brahms, Liszt, Berlioz, Stravinsky, Clara Schumann). The Orchestra’s residence is today, as it was then, in the town’s Kurhaus (‘spa house’) and it is regarded as one of the pillars of cultural life in this region of Germany. Numerous CD recordings and television and radio productions are testimony to its artistic ability.

From 2023–2025, the orchestra is part of the spectacular performances of Wagner’s Parsifal at the Goetheanum near Basel, Switzerland. With the Carl Flesch Academy, the Philharmonie also offers one of the world’s most renowned master classes for string instrumentalists every year.

Heiko Mathias Förster has been the orchestra’s principal conductor since 2022.

Joseph Moog’s passionate musicianship and mesmerising sound aesthetics have been delighting audiences and press for many years. Multiple awards (Gramophone , International Classical Music ) and a Grammy nomination are testament to his place on the world stage.

The 2023/2024 season has taken Joseph to major concert halls, festivals and ensembles, including Carnegie Hall New York, National Kaohsiung Center for the Arts in Taiwan, Philharmonie Essen and Sendesaal Bremen. His album, which includes Schumann’s Paganini Etudes and Brahms’ Paganini Variations, was awarded the Diapason d’Or and received rave reviews.

Joseph was awarded the Prix Groupe de Rothschild and became a Steinway Artist in 2009. He is a founding member of the ‘Konz Musik Festival’ near Luxembourg where he now resides and was appointed Cultural Ambassador of his home town Neustadt an der Weinstrasse.

RYAN WIGGLESWORTH

Sophie Bevan is recognised as one of the leading lyric sopranos of her generation. She was made an MBE for services to music in 2019.

She works regularly with leading orchestras, including the London Philharmonic Orchestra, Bergen Philharmonic, BBC Philharmonic, Finnish Radio Symphony, English Concert, Concertgebouw and Swedish Radio Orchestras and has appeared regularly at both the Edinburgh and the BBC Proms Festivals. An acclaimed recitalist, she has performed at the Concertgebouw and Wigmore Hall.

Recent and future opera engagements include appearances in major roles at Covent Garden, Welsh National Opera, English National Opera and Garsington. She made her debut at Glyndebourne as Michal (Saul) and at the Salzburg Festival and Metropolitan Opera as Beatriz in Adès’ The Exterminating Angel.

Ryan Wigglesworth took up the position of Chief Conductor of the BBC Scottish Symphony Orchestra in September 2022. In recent seasons he has appeared with leading orchestras throughout Europe, the USA and Japan, and is a regular guest at the Proms.

Also active as a pianist, recent play/direct projects have included concertos by Mozart and Beethoven, and he regularly appears in recital partnering with Mark Padmore, Lawrence Power and Sophie Bevan.

One of the leading composers of his day, his first opera, The Winter’s Tale , premièred at English National Opera in February 2017 and his most recent work, Magnificat received its UK première with the Hallé in 2023.

Photographs, L–R: Baden-Baden Philharmonic ©A. Bongartz; (top:) Sophie Bevan ©Sussie Ahlburg; Ryan Wigglesworth ©Ben Ealovega; (beneath:) Joseph Moog ©T. Mardo.

JOSEPH MOOG

SOPHIE BEVAN mbe

KRISTIAN BEZUIDENHOUT

Kristian Bezuidenhout is one of the most notable and exciting keyboard artists of our times, equally at home on the fortepiano, harpsichord, and modern piano.

An Artistic Director of Freiburger Barockorchester and Principal Guest Director with English Concert, he is also a regular guest soloist with ensembles such as Chicago Symphony Orchestra, Orchestra of the Age of Enlightenment and Leipzig Gewandhausorchester, and he play/directs others, such as Orchestra of the Eighteenth Century and Dunedin Consort.

He performs with celebrated artists including John Eliot Gardiner, Giovanni Antonini, Alina Ibragimova, Anne Sofie von Otter, Mark Padmore & Matthias Goerne.

The 2023/24 season sees Kristian perform with Orchestre National de Belgique, Camerata Salzburg and Australian Chamber Orchestra, among others. He also gives recitals with many artists, such as Isabelle Faust and Kristin von der Goltz, Rachel Podger and Chiaroscuro Quartet.

CONSONE QUARTET

The first period instrument string quartet to be selected as BBC New Generation Artists, the Consone Quartet are fast making a name for themselves with their honest and expressive interpretations of repertoire, notably from the Classical and Romantic eras.

Formed at the Royal College of Music in London, the quartet were soon recipients of multiple prizes (EUBO Development Trust, Royal Over-Seas League Ensemble), and in 2022 were awarded a prestigious Borletti-Buitoni Trust (BBT) fellowship.

The quartet has been enthusiastically received at London’s major venues, as well as further afield. Festival invitations include Edinburgh, Cheltenham, Dartington, Two Moors, Buxton and Heidelberger Streichquartettfest.

In 2024 the quartet returns to the English Haydn Festival and the York Early Music Festival. The quartet will return to North America in 2025 to perform both alone and in collaboration with pianist Kristian Bezuidenhout.

BAROCKSOLISTEN MÜNCHEN

Founded in 2010 by Dorothea Seel, Barocksolisten München comprises a cadre of extraordinary soloists, each contributing their unique brilliance to the ensemble’s collective artistry.

The Barocksolisten’s illustrious journey has taken them to prestigious venues and esteemed festivals worldwide, including the Barocktage Stift Melk, Bruehler Schlosskonzerte, and the International Bach Chamber Music Festival Riga.

Collaborations with esteemed vocalists such as Johanna Winkler, Robin Johanssen, Sophie Junker, Marie-Sophie Pollak and the actor August Zirner further enrich their performances, showcasing their versatility and artistic range.

Their discography ranges from Vivaldi to Bach to Johann Zach. Noteworthy releases include Al Capriccio and Fons Amoris, which were both recipients of prestigious awards. In 2024, the ensemble releases Mozart Concerti for Flute K.313, Oboe K.314, and Bassoon K.199

Soprano Marie-Sophie Pollak studied at the Munich University of Music and Theatre. She is a regular guest with such renowned orchestras and ensembles as Hamburg Philharmonic State Orchestra, Orchestre Symphonique de Montréal, Akademie für Alte Musik Berlin, Freiburg Baroque Orchestra and Camerata Salzburg, and has worked alongside conductors including Ivor Bolton, Václav Luks, Kent Nagano, Sir Roger Norrington, Hans-Christoph Rademann and Jean-Christophe Spinosi.

Photographs, clockwise from top left: Kristian Bezuidenhout ©Marco Borggreve; Barocksolisten München © Theresa Pewal; Marc Minkowski ©Franck Ferville; Marie-Sophie Pollak ©Shirley Suarez; Consone Quartet ©Matthew Johnson.

MARIE-SOPHIE POLLAK

BASEL CHAMBER ORCHESTRA

The Basel Chamber Orchestra is firmly anchored in Basel, with two subscription series at the Stadtcasino Basel and its own rehearsal and performance venue, the Don Bosco Basel. With more than 60 concerts per season, the Basel Chamber Orchestra tours worldwide and is a welcome guest at international festivals and the most important European concert halls, such as the Elbphilharmonie Hamburg, the Théâtre des ChampsÉlysées Paris and the Theater an der Wien.

The Basel Chamber Orchestra enjoys working with selected soloists such as Maria João Pires, Jan Lisiecki, Isabelle Faust and Christian Gerhaher.

French conductor Marc Minkowski is Artistic Director of Les Musiciens du Louvre and the Ré Majeure Festival. He was General Manager of Opéra national de Bordeaux 2016–2021, Artistic Director of the Mozartwoche in Salzburg 2013–2017, and was principal guest conductor of the Kanazawa Ensemble Orchestra in Japan.

HOLLAND BAROQUE

Holland Baroque enriches the musical canon with inexhaustible curiosity by approaching the score as an unfinished work of art. Knowledge, skill, imagination and playfulness unite as the Baroque becomes a new experience. From this outlook, Holland Baroque has found its own distinctive sound.

Judith and Tineke Steenbrink, artistic directors and the beating heart of the ensemble, write and arrange for the orchestra and their musical guests. Through their extensive research, they have discovered a treasure trove of repertoire and brought to light forgotten 17th-century composers such as Benedictus a Sancto Josepho.

The orchestra also supports young talent and the future of music by fostering creativity in children. Holland Baroque has been recognised for its quality, dedication, and approach to music-making through awards such as the Edison, the VSCD Award, and the REMA Education Award. The ensemble has recorded eighteen CDs with Channel Classics and Pentatone.

AMARILIS DUEÑAS

Born in Valladolid, Spain, in 1998, Amarilis Dueñas is noted for the balance between precision, intuition and freedom in her playing, and has studied with Jordi Savall, Paolo Pandolfo and Kristin von der Goltz.

Amarilis gives concerts all over Europe on the cello and viola da gamba, both as a soloist and chamber musician, as well as collaborating with Akademie für Alte Musik Berlin, Concerto Köln and B’Rock Orchestra. She has performed at important halls such as Musikverein Wien, Concertgebouw Amsterdam, Kölner Philharmonie and Konzerthaus Berlin.

She has worked on numerous recording projects, including her critically acclaimed first solo album Soliloqvies , released in 2020.

Photographs, clockwise from top left: Basel Chamber Orchestra ©Lucasz Rajchert; Holland Baroque ©Gijs Spierings; Amarilis Dueñas.

ACCOMMODATION & PRICES

THE SHIP

Launched in 2022, the MS Amadeus Cara is one of the most comfortable river cruisers in Europe. The multinational crew is dedicated to the highest standards of service.

With a floor area of 16m 2 (Haydn deck) or 17.5m 2 (Strauss and Mozart decks) the cabins are reasonably spacious by the standards of river cruisers. All have windows to the outside and are equipped with the facilities one would expect of a first-class hotel such as adjustable airconditioning, telephone, TV and safe. Bathrooms have showers only. Special attention has been paid to noise insulation.

In layout and furnishings the cabins are identical, the significant differences being the size of windows and height above

water level (higher cabins enjoy better views and fewer stairs).

Cabins on the top decks (Mozart and Strauss) are the most desirable, with floorto-ceiling windows which slide open, and minibars. There are ten suites (Mozart) measuring 26.4m 2 with a corner sofa area and small balcony. Cabins on the lowest (Haydn) deck have smaller windows which do not open. There are no single cabins as such but we are allocating some twin-bed cabins for single occupancy.

The public areas include the lounge and bar, a library area and a restaurant which can seat everyone at a single sitting. The sun deck has a tented area for shade.

www.lueftner-cruises.com

Haydn deck cabin

Haydn deck cabin Strauss/Mozart cabin

Mozart deck suite

Strauss/Mozart deck cabin

Mozart deck suite

PRICES

Haydn deck – lowest

Two sharing: £3,890 per person

Single occupancy: £4,460

Strauss deck – middle

Two sharing: £4,760 per person

Single occupancy: £5,660

Mozart deck – top

Two sharing: £5,340 per person

Single occupancy: £6,290

Suites – Mozart deck

Two sharing: £6,190 per person

Not available for single occupancy

No flights/trains: if you choose not to take one of the included transport options on page 20, there is a price reduction of £250 per person.

Train travel: if you choose to take Option 5 (train both ways), there is a supplement of £150 per person.

BOOKING

MAKING A BOOKING

1. Booking Option. We recommend that you contact us to make a booking option which we will hold for 72 hours. To confirm it, please send the booking form and deposit within this period – the deposit is 10% of your total booking price.

2. Definite booking. Fill in the booking form and send it to us with the deposit. It is important that you read the Booking Conditions at this stage (see page 23) and that you sign the booking form. We also ask that to take the fitness tests described on this page before committing to a definite booking. Full payment is required if you are booking within ten weeks of the date the festival begins.

Alternatively, make a definite booking straight away via our website.

3. Our confirmation. Upon receipt of the booking form and deposit we shall send you confirmation of your booking. After this your deposit is non-returnable except in the special circumstances mentioned in the Booking Conditions. Further details about the festival may also be sent at this stage, or will follow shortly afterwards.

FITNESS TESTS

We ask that you take the following fitness tests before booking. By signing the Booking Form, you confirm that you have done so. Please also read ‘fitness for the festival’ on page 20.

1. Chair stands. Sit in a dining chair, with arms folded and hands on opposite shoulders. Stand up and sit down at least eight times in 30 seconds.

2. Step test. Mark a wall at a height that is halfway between your knee and your hip bone. Raise each knee in turn to the mark at least 60 times in two minutes.

3. Agility test. Place an object three yards from the edge of a chair, sit, and record the time it takes to stand up, walk to the object and sit back down. You should be able to do this in under seven seconds.

An additional indication of the fitness required, though we are not asking you to measure this, is that you should be able to walk unaided at a pace of three miles per hour for at least half an hour at a time, and to stand for at least 15 minutes.

JOINING & LEAVING THE FESTIVAL

OPTION 1 – Flights both ways (LCY)

8 May: London City to Amsterdam (BA 8489) departing at 10.50 and arriving at 12.55. This is followed by free time for independent exploration before dinner and the evening concert.

15 May: Zurich to London City (BA 8766) departing at 14.55 and arriving at 15.30. There is time for some independent exploration of Basel before departing for London.

OPTION 2 – Flights both ways (LHR)

8 May: London Heathrow to Amsterdam (BA 434) departing at 11.45 and arriving at 14.05. This is followed by free time for independent exploration before dinner and the evening concert.

15 May: Basel to London Heathrow (BA 753) departing at 12.20 and arriving at 13.00.

OPTION 3 – Train out, flight back (LCY)

8 May: London St Pancras to Amsterdam (Eurostar) departing at 11.04 and arriving at 16.15.

15 May: Zurich to London City (BA 8766) departing at 14.55 and arriving at 15.30. There is time for some independent exploration of Basel before departing for London.

OPTION 4 – Train out, flight back (LHR)

8 May: London St Pancras to Amsterdam (Eurostar) departing at 11.04 and arriving at 16.15.

15 May: Basel to London Heathrow (BA 753) departing at 12.20 and arriving at 13.00.

OPTION 5 – Rail only

8 May: London St Pancras to Amsterdam (Eurostar) departing at 11.04 and arriving at 16.15.

CONNECTING FLIGHTS

It may be possible to arrange connecting flights with British Airways from Edinburgh, Manchester, Glasgow, Aberdeen or Belfast.

MAKING OWN ARRANGEMENTS

You can choose not to take any of our flight/rail options and to make your own arrangements for joining and leaving the ship. You are welcome to join our coach transfers if your travel arrangements coincide with any of the options above.

Price reduction for ‘no flights/trains’: £250 per person.

Illustration:

Section of the Rhine, steel engraving c. 1840.

15 May: Basel to London St Pancras, via Paris (one change), departing at 10.34 and arriving at 17.30.

Supplement for Option 5 (train both ways): £150 per person.

Fitness for the festival

Quite a lot of walking is necessary to reach some concert venues and to get around the towns we visit. Most of the concert venues do not have a lift. You need to be averagely fit, sure-footed and able to manage everyday walking and stairclimbing without difficulty. We ask that you take the simple fitness tests on page 19 before booking.

If you have a medical condition or a disability which may affect your holiday or necessitate special arrangements being made for you, please discuss these with us before booking – or, if the condition develops or changes subsequently, as soon as possible before departure.

Please note that each outbound option is tied to a particular inbound option – we are unable to amend your return transport to include the outbound and inbound travel from two different options.

At the time of publication, flight and train schedules had not yet been published for May 2025 so these times are indicative and subject to change.

MUSIC ALONG THE RHINE

8–15 MAY 2025 (ML 693)

NAME(S) – as you wish them to appear on the list of participants. Please note that we do not use titles:

Participant 1:

Contact details for all correspondence:

Address

Participant 2:

Postcode/Zip Country

Telephone (home) Mobile

E-mail

Tick if you are happy to receive your festival and booking documents online where possible (confirm your e-mail address above).

Please complete this section, even if you have told us your preferences before:

How would you like to be kept informed about our future tours and events?:

By post

Yes No

E-newsletter

Yes No

What prompted this booking? It is very helpful for us to know how you first heard about this event, and if you can be specific, e.g. if in an advertisement, the name of the publication it appeared in; if we sent you a communication, what type? (e-mail or post?):

ACCOMMODATION & TRAVEL – STAYING ON-BOARD THE SHIP

Deck – tick one Cabin type – tick one

Single occupancy cabin

Haydn – lowest

Strauss – middle

Mozart – top

Twin cabin with beds separate

Twin cabin with beds together

Suite with beds separate – Mozart only

Suite with beds together – Mozart only

Travel option – tick one

Option 1: return flights from London City

Option 2: return flights from London Heathrow

Option 3: train out, flight back (London City)

Option 4: train out, flight back (London Heathrow)

Option 5: return rail travel from London St Pancras

No flights/trains. Making your own arrangements for joining and leaving the festival.

FURTHER INFORMATION. Please notify us of dietary restrictions (for example, religious, medical or if you are vegetarian or vegan). Please also use this space to request room upgrades, or extra nights, etc.

PASSPORT DETAILS & NEXT OF KIN

Essential for airlines and the ship/hotels, and in case of emergency. Please use capital letters for your passport details.

PAYMENT

We prefer payments by bank transfer. We cannot currently accept payment through our website. All money paid to us is fully protected regardless of payment method. Please tick one option:

BANK TRANSFER Please use your surname and the festival code (ml 693) as a reference and ask your bank to allow for all charges.

Account name: Martin Randall Travel Ltd.

Bank: Barclays

Address: 1 Churchill Place, Canary Wharf, London E14 5HP

Account number: 4054 4558

Sort code: 20-96-63

Transfers from non-UK bank accounts: please instruct your bank to send payment in pound sterling (GBP)

IBAN: GB19 BARC 2096 6340 5445 58 Swift/BIC code: BARC GB22

DEBIT OR CREDIT CARD. I authorise Martin Randall Travel to contact me by telephone to take payment from my Visa credit/Visa debit/Mastercard/AMEX.

Please tick payment amount, and then ensure you sign at the bottom of this form:

EITHER Deposit 10% of total booking cost.

OR Full balance

Required if you are booking within 10 weeks of departure.

Add carbon offset (£5 per person). Tick to offset the emissions generated by your booking. Read about the project we currently support through carbon offsets by visiting martinrandall.com/sustainable-tourism.

TOTAL: £

I have read and agree to the Booking Conditions and Privacy Policy (www.martinrandall.com/privacy) on behalf of all listed on this form.

Signature:

Date:

Martin Randall Travel Ltd

10 Barley Mow Passage London W4 4PH, United Kingdom

Tel +44 (0)20 8742 3355

From North America: 1 800 988 6168

info@martinrandall.co.uk www.martinrandall.com

Martin Randall Australasia PO Box 1024

Indooroopilly QLD 4068, Australia

Tel 1300 55 95 95

New Zealand 0800 877 622 anz@martinrandall.com.au

PLEASE READ THESE

You need to sign your assent to these Booking Conditions on the booking form.

OUR PROMISES TO YOU

We aim to be fair, reasonable and sympathetic in all our dealings with clients, and to act always with integrity.

We will meet all our legal and regulatory responsibilities, usually going far beyond the minimum obligations.

We aim to provide full and accurate information about our holidays. If there are changes, we will tell you promptly.

If something does go wrong, we will try to put it right. Our overriding aim is to ensure that every client is satisfied with our services.

ALL WE ASK OF YOU

That you read the information we send to you.

SPECIFIC TERMS

Our contract with you. From the time we receive your signed booking form and initial payment, a contract exists between you and Martin Randall Travel Ltd.

Eligibility. You must be in good health, free of infectious illness, and have a level of physical and mental fitness that would not impair other participants’ enjoyment by slowing them down or by absorbing disproportionate attention from the tour leaders. Please read ‘Fitness for the festival' on page 20 and take the self-assessment tests described on page 19; by signing the booking form you are stating that you have understood what we are asking of you and are fit to participate. If you have a medical condition or a disability which may affect your holiday or necessitate special arrangements being made for you, please discuss this with us before booking – or, if the condition develops or changes subsequently, as soon as possible before departure. If during the festival or tour it transpires, in the judgement of the tour leaders, that you are not able to cope, you may be asked to opt out of certain visits or to leave altogether. This would be at your own expense. We reserve the right to refuse to accept a booking without necessarily giving a reason. Foreign, Commonwealth & Development Office advice. Before booking, please refer to the FCDO website to ensure you understand the travel advice for the places to which the festival or tour goes. Non-UK citizens should look at the advice issued by their governments, which may differ significantly.

Insurance. It is a requirement of booking that you have adequate holiday insurance cover. The insurance must cover, at minimum, medical treatment, repatriation, loss of property and loss of payments to us in the event that you cancel your booking. If you are making your own arrangements for international travel, please ensure you have insurance that protects you in the rare event of Martin Randall Travel cancelling the festival or tour. Experience indicates that free travel insurance offered by some credit card companies is not to be relied upon.

Passports and visas. British citizens must have valid passports for travel outside the United Kingdom. The passport needs to be valid for 6 months beyond the date of the festival and/ or tour. For Schengen countries, your passport must have been issued less than ten years before the date you enter the country and valid for at least three months after the day you

leave. Non-UK nationals should ascertain whether visas are required in their case.

If you cancel. If you have to withdraw from a festival or tour on which you had booked, there would be a charge which varies according to the period of notice you give. Up to 57 days before departure the deposit would be forfeited. Thereafter a percentage of the total cost of your booking will be due:

Up to 57 days: deposit only

Between 56 and 29 days: 40%

Between 28 and 15 days: 60%

Between 14 days and 4 days: 80%

Within 72 hours: 100%

Additional costs for individual arrangements (including but not limited to flight upgrades, flight amendments, extra nights at hotel(s), room upgrades and airport transfers) are subject to the same cancellation charges, apart from in the instance where we have previously notified you that an additional cost is non-refundable.

If you cancel your booking in a shared room or cabin but your travelling companion chooses to continue to participate, the companion would have to pay the single-occupancy price.

We take as the day of cancellation that on which we receive written confirmation of cancellation.

If we cancel. We may decide to cancel a festival or tour if there were insufficient bookings for the it to be viable (though this would always be more than 8 weeks before departure). We would refund you with everything you had paid us.

Safety and security. Cancellation may also occur if civil unrest, war, natural disaster or other circumstances amounting to force majeure arise in the region to which the festival or tour was due to go. If the UK Foreign and Commonwealth Office advises against travel, we would either cancel or adjust the itinerary to avoid risky areas.

Health and safety. We have a safety auditing process in place and, as a minimum, request that all of our suppliers comply with local health and safety regulations. However, we operate tours in parts of the world where standards are lower than those you are used to at home, particularly in the areas of accessibility, handrails and seatbelts. We ask that you take note of the safety information we provide.

The limits of our liabilities. As principal, we accept responsibility for all ingredients of a tour or festival except those in which the principle of force majeure prevails. Our obligations and responsibilities are also limited where international conventions apply in respect of air, sea or rail carriers, including the Warsaw Convention and its various updates.

If we make changes. Circumstances might arise which prevent us from operating a tour or festival exactly as advertised. We would try to devise a satisfactory alternative, but if the change represents a significant loss to the tour or festival we would offer compensation. If you decide to cancel because the alternative we offer is not in your view an adequate substitute, we would give a full refund.

Financial protection for UK residents. Any money you have paid to us for a holiday which includes an international flight is protected by our Air Travel Organiser’s Licence (ATOL, number 3622). Payments for holidays which do not include a flight from/to the UK are protected by ABTOT – The Association of Bonded Travel Organisers Trust Limited. So, in the (highly unlikely) event of our

insolvency in advance of the festival or tour, you would get your money back, or if we failed after it had begun, it would be able to continue and you would be returned to the UK at its conclusion. Clients living elsewhere who have arranged their own flights should ensure their personal travel insurance covers repatriation in the event of holiday supplier failure.

Financial protection – the official text. We are required to publish the following:

We provide full financial protection for our package holidays which include international flights, by way of our Air Travel Organiser’s Licence number 3622. When you buy an ATOL protected flight inclusive holiday from us you receive an ATOL Certificate. This lists what is financially protected, where you can get information on what this means for you and who to contact if things go wrong. Most of our flights and flight-inclusive holidays on our website and in our brochure are financially protected by the ATOL scheme. But ATOL protection does not apply to all holiday and travel services listed. Please ask us to confirm what protection may apply to your booking. If you do not receive an ATOL Certificate then the booking will not be ATOL protected. If you do receive an ATOL Certificate but all the parts of your trip are not listed on it, those parts will not be ATOL protected. In order to be protected under the ATOL scheme you need to be in the UK when you make your booking and/or one of the flights you take must originate or terminate in the UK with the group.

We provide full financial protection for our package holidays that do not include a flight, by way of a bond held by ABTOT – The Association of Bonded Travel Organisers Trust Limited.

We will provide you with the services listed on the ATOL Certificate (or a suitable alternative). In some cases, where we aren’t able do so for reasons of insolvency, an alternative ATOL holder may provide you with the services you have bought or a suitable alternative (at no extra cost to you). You agree to accept that in those circumstances the alternative ATOL holder will perform those obligations and you agree to pay any money outstanding to be paid by you under your contract to that alternative ATOL holder. However, you also agree that in some cases it will not be possible to appoint an alternative ATOL holder, in which case you will be entitled to make a claim under the ATOL scheme (or your credit card issuer where applicable). If we, or the suppliers identified on your ATOL certificate, are unable to provide the services listed (or a suitable alternative, through an alternative ATOL holder or otherwise) for reasons of insolvency, the Trustees of the Air Travel Trust may make a payment to (or confer a benefit on) you under the ATOL scheme. You agree that in return for such a payment or benefit you assign absolutely to those Trustees any claims which you have or may have arising out of or relating to the non-provision of the services, including any claim against us (or your credit card issuer where applicable). You also agree that any such claims maybe re-assigned to another body, if that other body has paid sums you have claimed under the ATOL scheme.

English Law. These conditions form part of your contract with Martin Randall Travel Ltd and are governed by English law. All proceedings shall be within the exclusive jurisdiction of the courts of England and Wales.

Privacy. By signing the booking form, or by booking online, you are stating that you have read and agree to our Privacy Policy (available online at www. martinrandall.com/privacy).

MARTIN RANDALL TRAVEL LTD

10 Barley Mow Passage

London W4 4PH

United Kingdom

Tel +44 (0)20 8742 3355 info@martinrandall.co.uk www.martinrandall.com

Contact the London office from the USA and Canada:

Tel 1 800 988 6168 (toll free) usa@martinrandall.com

MARTIN RANDALL AUSTRALASIA

PO Box 1024

Indooroopilly QLD 4068

Australia

Tel 1300 55 95 95 New Zealand 0800 877 622 anz@martinrandall.com.au

MARTIN RANDALL TRAVEL…

is Britain’s leading specialist in cultural travel and one of the most respected tour operators in the world.

MRT aims to produce the best planned, best led and altogether the most fulfilling and enjoyable cultural tours and events available. They focus on art, architecture, archaeology, history, music and gastronomy, and are spread across Britain, continental Europe, the Middle East, North Africa, India, Japan and the Americas.

For 2025 we have planned around 190 expert-led tours for small groups (usually 10–20 participants), four music festivals of our own devising (such as Music along the Rhine), several short history and music breaks, an extensive programme of online talks, and single days in London.

For over 35 years the company has led the field through incessant innovation and improvement, setting the benchmarks for itinerary planning, operational systems and service standards.

To see our full range of cultural tours and events, please visit www.martinrandall.com