The Rhône: Bacchus & Orpheus by Martin Randall Travel

The Rhône

-Bacchus & OrpheusMusic and Wine from Burgundy to Provence 6–13 July 2017

Trio Dali Florilegium Stile Antico Pierre Hantaï Paolo Pandolfo Elin Manahan Thomas Ensemble Clément Janequin Véronique Gens & Susan Manoff

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‘I don’t know how you did it! Organisation superb. Staff are helpful and standard of music very high.’ ‘The festival really provided so many special moments that I will carry with me for years to come.’ Comments from recent participants on MRT festivals.

Contents The festival package.......................... 5 The programme..........................6–11 The speakers.................................... 11 The ship & prices......................12–13 Fitness for the festival.................... 13 Joining & leaving the festival........ 14

Pre- & post-festival tours: Cave Art of France....................15–16 The Beaune Music Festival............. 16 Other possible combinations........ 16 Booking form............................17–18 Booking details & conditions........ 19

The Rhône

-Bacchus & OrpheusMusic and Wine from Burgundy to Provence 6–13 July 2017

Front cover: early-20th-century French gouache painting. Above: Avignon, Palais des Papes, aquatint by Sir Francis Barry.

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The Rhône: Bacchus & Orpheus, 6–13 July 2017

Seven private concerts in châteaux, churches and concert halls along the Rhône and Saône rivers. Musicians of the highest calibre including Véronique Gens, Paolo Pandolfo, Stile Antico, Ensemble Clément Janequin, Pierre Hantaï, Florilegium with Elin Manahan Thomas and Trio Dali. Talks on the music by artistic director Richard Langham Smith. Wine tastings at a number of renowned wine houses in the region and talks by wine expert Marc Millon. The audience lives on a comfortable river cruiser which sails as far south as Avignon and north to Mâcon. Admission to the concerts is exclusive to those who take a package which also includes travel, accommodation, all meals, talks and much else. Avignon, Pont St Bénézet, early-20th-century watercolour.

A beautiful backwater The mighty Rhône once formed the central stretch of the highway linking the north of Europe to the south. Through its tributary the Saône it reached up to the pastures, vineyards and great abbeys of Burgundy; southwards, it flowed past the bleached limestone villages and Mediterranean vegetation of Provence, whence travellers could continue, via coastal waters, to Italy and Spain. Now it is practically a backwater. River traffic has seeped away to roads and railways, the cities and settlements along its banks largely by-passed by industry. Even tourists are thin on the ground in many places, despite the loveliness of both townscape and countryside.

Bacchus & Orpheus: the partnership of wine & music The countless ways in which the inseparable partnership of wine and music is forged is the overarching subject of this Festival. Reflected in the concerts, tastings and talks, the felicitous union of Bacchus with Orpheus will be explored in some of the finest buildings of the Côtes du Rhône, with carefully-chosen musical repertoire particularly suited to each venue. The two lecturers, Richard Langham Smith, the artistic director, and Marc Millon, wine, food and travel author, have worked together carefully to present this voyage of discovery, uncovering some ‘kitchen secrets’ of both the composition of the music and the evolution of the wines. This they have undertaken with a conviction that a little backstage knowledge about both wine and music is always a prescription for increased appreciation. See page 11 for their biographies.

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How very often we read of wine and music in similar terms! We hear of the ‘notes’ of fruits, herbs, and minerals in wine; the best wines are often remarked on as harmonious; and chordal complexity is admired in the bouquet of bonnes bouteilles. Isn’t the musical ensemble the aural equivalent of the winemaker, carefully blending different grapes, the better to exploit to the full the unique qualities of the ingredients? Even if they exploit only one grape – as in the red and white wines of Burgundy – the different villages have a ‘gamut’ of wines, all with a timbre in common, but expressing different notes: rather like a piano recital, perhaps. And then there is the epoch: the soil and the weather (the terroir) which unifies the wines of a particular place – the musicians of the Burgundian court or of the so-called Parisian ‘Impressionist’ composers such as Debussy and Ravel – while the individuality of the composer or vigneron ensures individuality of expression.

Sailing through wine country Throughout this festival of music and wine, the rivers lead through fabled wine country that has roots dating back to antiquity. Vineyards first planted by the ancient Romans continue today to produce a remarkable gamut of wines of all styles: rare, distinguished red and white wines from its north flank, including Côte Rôtie, Condrieu and the miniscule Château Grillet; powerful and long-lived reds from Hermitage, Châteauneuf-du-Pape, St-Joseph, Cornas, Gigondas and elsewhere; probably the finest French rosés from Tavel and Lirac; still and sparkling white wines from St-Péray and sparkling Clairette de Die; and the fragrant, fortified Muscat de Beaumes-de-Venise.

Following the Saône upriver north of Lyon, we pass the granite hills of the Beaujolais leading up to the limestone outcrops of Solutré, the source of the magnificent white Burgundies of Pouilly-Fuissé. There are ample opportunities to sample and enjoy this illustrious range of wines throughout the Festival: specially selected wines accompany the on-board meals; there are visits to distinguished vineyards and wine producers to learn, taste and enjoy direct at the source; and the concert experiences are enhanced with wines at the intervals, chosen specially to be relevant to each occasion.

‘Notes of Complexity’ The French poet Charles Baudelaire evolved a theory about parallel senses – correspondances – drink a wine or smell a perfume along with its corresponding musical equivalent and more harmonious pleasure will result. Baudelaire’s intuitive poetic theory is now being pursued by scientific research which seems to be proving his point … Our exploration of wine and music will end with a joint practical sensory experience: pairing three pieces by the same composer (Maurice Ravel) with three glasses of wine of increasing complexity from the same Burgundian estate. Led by our two lecturers together, this unique listening/tasting session will explore the theme of complexity in wine and music, how and where it comes from. Below: lecturers Professor Richard Langham Smith and Marc Millon.

‘The Singers’, engraving c. 1840 after T. Rombouts.

The festival package Access to the concerts is exclusive to those who take the festival package, the price for which includes: Admission to all seven private concerts. Accommodation for seven nights on board a first-class river cruiser. Travel by rail from London. There is a price reduction if you choose to make your own arrangements, or a supplement for a night in a hotel of your choice if you would prefer to fly to Lyon the day before the festival. All meals from dinner on the first day to breakfast on the last. Wine is provided with lunch and dinner.

Comfortable cruiser, beautiful venues The audience is accommodated on a first-class river cruiser, chartered exclusively for the event. The MS Amadeus Provence is the most comfortable passenger ship of the capacity we require on the Saône and the Rhône. As both hotel and principal means of transport, the ship enables passengers to attend the concerts and visit some fine towns and cities of the region without having to change hotel or travel long distances. There is little regimentation, no obligatory seating plan, no onboard entertainment, no intrusive announcements – and no piped music. We are delighted to be bringing to this enchanting slice of La France profonde a music festival of the sort we pioneered, and which continues to be unique to Martin Randall Travel. All the concert venues rank highly for charm, beauty or historical importance, and in many cases they are of the same period as the music.

Private wine tastings at some of the most renowned houses in the region and on board the ship. Interval drinks where appropriate. Afternoon tea or morning coffee on board the ship when it fits in with our itinerary. Travel by coach to the concerts and wine tastings when they are beyond walking distance. Travel by coach between airport or rail station and ship. Lectures by a musicologist and a wine expert. All tips for crew, restaurant staff and drivers etc., and all state and airport taxes. Practical and historical information and a detailed programme booklet. The assistance of an experienced team of French-speaking festival staff. book online at www.martinrandall.com

The Rhône: Bacchus & Orpheus, 6–13 July 2017

The Programme

Day 1, Thursday 6 July: Lyon For information on travelling to Lyon see page 14. The ship, MS Amadeus Provence, is moored in Lyon and ready for boarding from 4.00pm. France’s second city by size, Lyon is widely regarded as surpassing Paris for lifestyle and as a place to live. The number of Michelin stars is usually cited in support, but it is immediately evident to the visitor that this is a well-ordered city where modern life is comfortably inserted into the many hectares of historic fabric. There is time to settle into your cabin and explore the ship before an early dinner. The first concert follows, at the Salle Molière, a chamber concert hall on the banks of the Saône which opened in 1912.

Concert: Salle Molière, Lyon L’invitation au voyage Véronique Gens soprano Susan Manoff piano What better than Henri Duparc’s setting of Baudelaire’s celebrated poem from Les Fleurs du mal to launch us on our cruise? Sung by Véronique Gens, the undoubted mistress of the French Song repertoire, its haunting harmonies and soaring vocal line gently launch us into a magic world born of an intimate fusion of musique et poésie, dealing with love in all its aspects as well as with ‘les Plaisirs’: a preoccupation of French music since time immemorial. The concert will finish with songs by Poulenc, including his Illustrations. Left: town on the Rhône, copper engraving c. 1800. Right: The junction of the Rhône and the Saône, from the Roman ruins in Lyon, lithograph c. 1830. Photos, left to right: Véronique Gens & Susan Manoff, Stile Antico (©Marco Borggreve).

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irresistible setting of Apollinaire’s ‘Hôtel’ extolling the pleasure of doing nothing and smoking (no doubt) a Gauloise. Alongside Duparc will be songs by Reynald Hahn, one-time lover of Marcel Proust, the exquisite settings of Verlaine’s Watteauesque Fêtes galantes by Debussy and mélodies by Debussy’s friend and mentor Ernest Chausson. Véronique Gens is one of the finest of French singers. Initially acquiring fame in Baroque opera, she has widened her repertoire to include roles by Mozart and songs by 19th and 20th-century French composers. Susan Manoff, born in New York of Latvian and German descent, has become a much sought-after accompanist for art song and also performs chamber music and solo piano in the world’s leading concert halls. At 10.00pm, leave the mooring and sail down the Rhône. Moor at Vienne around three hours later.

Day 2, Friday 7 July: Vienne, Tournon Vienne is a handsome town which was well known in the Roman world as an exporter of wine. In the Middle Ages it became the seat of an important bishopric. The almost complete Temple of Augustus and Livia and the Romanesque-Gothic cathedral are among the outstanding monuments to be found among the narrow streets and little squares. St-André-le-Bas, a church which dates from the ninth and twelfth centuries, is the venue for the morning concert.

Concert: Eglise St-André-le-Bas, Vienne A perfect marriage of sonority: viol & lute Paolo Pandolfo & Amélie Chemin viol Thomas Boysen theorbo

It was Marais himself who thought that the viol and the lute were perfect partners. His music, along with that of his teacher Sainte-Colombe, forms the pinnacle of the French repertoire for the Basse de viole. Both were highly accomplished virtuosos and innovative composers, developing the art of the French school to an unprecedented degree, full of richly chordal, extraordinarily deep sonorities. Paolo Pandolfo studied with and later played with Jordi Savall, beginning his research in the field of renaissance and baroque musical idioms around 1979. He is professor of viola da gamba at his alma mater, the Schola Cantorum Basiliensis in Basel, and director of Labyrinto, a viola da gamba group which is dedicated to consort music. He has dedicated two recordings to Marais. Sail over lunch and through the afternoon to Tournon, an important wine town overlooking one of its most famous vineyards, the imposing hill of Hermitage. Together with Tain l’Hermitage on the opposite bank, Tournon is home to some of the region’s most prestigious producers. From tastings here we learn in particular about the robust and full-flavoured red wines such as Crozes-Hermitage, Hermitage, Cornas and St-Joseph and the forceful white St Péray. Moor overnight in Tournon.

Day 3, Saturday 8 July: Tournon, Viviers There is a little time to wander around the delightful little riverside town of Tournon: an expanse of gravel and plane trees, a sweep of pastel façades and shutters, a steep hill rising abruptly behind. Resume the voyage downstream and moor at Viviers in the late afternoon.

From the tranquil mooring, the pinnacles of this enchanting hilltop town can just be seen through the trees. A shaded road leads half a mile to the town. From here a cobbled street climbs steadily and myriad alleys thread past ancient stone houses and eventually lead to the summit. Here the great Gothic cathedral, with its broad seven-sided chevet and flamboyant tracery, is one of the delights of mediaeval Ardèche.

Concert: Viviers Cathedral The sweet scent of the tender grape: settings of the Song of Songs Stile Antico ‘Stile Antico’ – the old style – has acquired a specific meaning with regard to renaissance music: the pure style of more conservative composers such as Palestrina. Before it began to be eroded by innovators such as Claudio Monteverdi, this serene musical style permeated southwards to Italy from Flanders and became the lingua franca of European vocal music, both sacred and secular. There was considerable interchange between the music of different nations: English music was copied by French scribes and heard in the chapels of France, and vice versa. Settings of poetry from the Song of Songs, straddling the sacred and the secular, became a favourite. Stile Antico is an a cappella ensemble of British singers which is established as one of the most original and exciting voices in the field of renaissance and other polyphony. Performing without a conductor, they bring a special intimate attentiveness to each other, which for the audience is engrossing bother aurally and visually. They perform regularly throughout Europe and North America and their recordings have received major awards. Sail overnight to Avignon.

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The Rhône: Bacchus & Orpheus, 6–13 July 2017

Illustrations, left: engraving c. 1800. Right: Avignon, cathedral, lithograph c. 1850. Photos, left to right: Ensemble Clément Janequin; Elin Manahan Thomas; Florilegium (©Amit Lennon).

Day 4, Sunday 9 July: Avignon The day is spent in Avignon, one of the loveliest and historically most important cities in France. For seventy years during the fourteenth century the Popes and the whole apparatus of papal administration ruled the Catholic Church from here. Rome had sunk into violence and factionalism, and Provence was a virtually independent principality with excellent communications by water with both the north and the south of Europe. The complete circuit of walls, 2.6 miles in length, is an impressive survival from this time, as is the Palais des Papes, perhaps the finest palace to have survived from the Middle Ages. Much of the fabric of the city, however, dates from a more elegant era, the eighteenth century. Tours of the Palais des Papes are available throughout the afternoon, followed by a concert in the Grand Tinel, a vast hall where cardinals gathered for the conclave.

Concert: Palais des Papes, Avignon Les Plaisirs du palais Ensemble Clément Janequin Dominique Visse director

music, sojourned no fewer than six times, no doubt indulging in some musical performances (which he loved) and other pleasures to excess. Created in Paris in 1978, the Ensemble Clément Janequin performs sacred and secular vocal music of the Renaissance. Their inimitable performances of the French chanson have revealed what is now appreciated to be one of the Golden Ages in the history of French music. Sail overnight to Viviers.

Day 5, Monday 10 July: Grignan Drive from Viviers to Grignan. Here a magnificent hilltop castle was built in the Middle Ages, the superstructure to be replaced in the 16th century by a fine Renaissance château. The richly panelled Galerie des Adhémar is the venue for the morning concert.

Concert: Galerie des Adhémar, Château de Grignan L’art de toucher le clavecin: Couperin & Rameau Pierre Hantaï harpsichord

Pleasures in the Palace – the Pleasures of the Palate: the title means both. If Stile Antico’s concert was serene, this one will be raucous. Although the church music of 16th-century France could be as pure as any, its chansons delighted in portraying (and exuding) pleasure. The programme includes songs by Claudin de Sermisy, Nicolas Gombert and Janequin.

Our use of the word ‘touch’ in relation to piano-playing has its roots in the verb used in Latin countries not only for the subtle art of how to put one’s fingers on the keys, but also for ‘touching’ the hearts of the audience. The title for this concert comes from François Couperin, known as ‘le grand’, who wrote an instruction-book on these very skills. Both he and Rameau considerably widened the capabilities of the harpsichord and its expressive range.

There could be no better setting than the dining-hall of the Palais des Papes where François I, the King contemporary with this

Couperin’s delightful Pièces de caractère often have their roots in the gamut of dances fashionable at Court and among the

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aristocracy: all you had to know in France to be successful at Court was to know how to dance, remarked one commentator. Rameau often arranged hits from his own operas for the harpsichord so that those with an instrument at home could recall the lavish spectacles they had witnessed on the Paris stage. Hantaï is a master of reconjuring this art. Pierre Hantaï studied the harpsichord with Arthur Haas and later Gustav Leonhardt. He has collaborated with the likes of Philippe Herreweghe, the Kuijken brothers and Marc Minkowski, and often appears with Jordi Savall and friends such as Hugo Reyne, Sébastien Marq, Christophe Coin and Jean-Guihen Queyras. He has three discs devoted to Scarlatti. The audience divides as the hall is too small to accommodate the entire audience at once. In the afternoon sail upstream to Trévoux, mooring early on Tuesday morning.

Day 6, Tuesday 11 July: Trévoux, Lyon Sloping steeply away from the Saône, Trévoux is a mediaeval town with beguiling alleys and stairways. From the neo-Romanesque church there is a magnificent view of the river and the hills beyond. Sail mid-morning to Lyon where the afternoon is free. Among possible activities are a visit to the Musée des Arts Decoratifs or to the excavated site of the ancient Roman town. Time can also be spent exploring the alleys and Renaissance courtyards of VieuxLyon on the slopes across the Saône. A coach shuttle is provided between the mooring and the centre. The after-dinner concert is held in the Chapelle de la Trinité, now the main venue for the annual Festival de Musique Baroque de

Lyon. As in many cities in Catholic Europe, the austere bulk of the Jesuit college does little to prepare the visitor for the decorative elaboration and chromatic richness which is found in the chapel concealed within.

Concert: Chapelle de la Trinité, Lyon Bacchus & Orpheus: wine & music in the French Baroque Florilegium Ashley Soloman director & flute Elin Manahan Thomas soprano This concert brings our dual themes of Wine and Music into immediate proximity. The composers of ‘Airs’ and ‘Cantatas’ sang mostly about love: particularly its chains, its pains and (occasionally) its pleasures. Quite often it all went wrong: but there was a cure! A text about Bacchus suggested ‘waves of wine’ to induce forgetfulness. Another about Orpheus suggested Music in the end gave greater pleasure. In between a ‘Scène de sommeil’ – a ‘sleep’ scene – was obligatory: ‘Doux repos!’ Florilegium provide the perfect ensemble to reproduce the music of the 18th century: a flute, at which the French have always been the masters, a theorbo (the king of the lutes) and a harpsichord. Sybaritic sonority! Regular performances in some of the world’s most prestigious venues have confirmed Florilegium’s status as one of Britain’s outstanding period instrument ensembles. They are a former Ensemble in Residence of the Wigmore Hall and have been the Ensemble in Association of the Royal College of Music for twelve years.

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The Rhône: Bacchus & Orpheus, 6–13 July 2017

Trio Dali (©F. Broede).

Pont-Saint-Esprit, watercolour by Fenella Girdlestone.

One of Britain’s leading young sopranos, Elin Manahan Thomas was born and bred in Swansea and graduated from Clare College, Cambridge in Anglo-Saxon, Norse and Celtic.

and into the first decades of the twentieth. A château somewhere between the very South of France and Paris is therefore a perfect location for this concert.

Sail overnight up the Saône to Mâcon.

Formed in 2006, Trio Dali studied with the Artemis Quartet, Augustin Dumay, Menahem Pressler and at the Universität der Künste, Berlin. They have performed internationally in concerts and festivals, worked with orchestras such as the Philharmonia, Luxembourg Philharmonic, Latvian National Symphony Orchestra and Sinfonia Varsovia and are artists in residence at the SingerPolignac Foundation in Paris.

Day 7, Wednesday 12 July: Pierreclos, Mâcon Moor at Mâcon and drive for twenty minutes through Burgundian countryside, a crowded pallet of rumpled hills, woodland and fields, pasturage and vineyards. The Château de Pierreclos sits on a promontory as if on a stage, a picturesque clump of masonry and roof tiles, much battered and patched over the centuries. The concert is in an unembellished but well-restored hall.

Concert: Château de Pierreclos The beauty of nostalgia & complexity: Ravel à 2 et à 3… Trio Dali: Jack Liebeck violin Christian-Pierre La Marca cello Amandine Savary piano Centred on the Piano Trio of Ravel, this concert also includes his Sonata for Violin and Cello, an extraordinary and rarelyheard composition which makes the two instruments sound like an orchestra. Though his roots were in the Basque country – and his music sometimes shines with the Southern sun – Ravel’s brilliant understanding of the ultimate complexities of harmony came from his immersion in the music of Paris, riding the crest of the wave in terms of its musical production across the turn of the century

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Return to the ship for lunch. In the afternoon Mâcon provides the opportunity to dip into the vineyards of southern Burgundy, lying to the south and west of the city and leading up to the rearing crest of Solutré. This magnificent natural landmark is a salient feature of Mâcon’s wine country, for it is evidence of a profound and rich layer of limestone, the terroir that proves such a fertile and propitious ground for the Chardonnay grape. Indeed, our visit to a producer here allows lovers of white Burgundy to discover and sample some of its greatest produce: Pouilly Fuissé, St-Véran, Pouilly-Vinzelles and Mâcon-Chaintré. Sail down the Saône to Lyon overnight.

Day 8, Thursday 13 July MS Amadeus Provence moors in Lyon before dawn.

Leaving the festival Passengers have to disembark by 9.30am. One coach goes straight from the quay to Lyon airport, arriving there by 8.30am. This is for those booked on BA 361, Lyon–London Heathrow 10.05–10.50.

Another coach goes straight from the quay to Lyon Part-Dieu for the TGV to Paris Gare de Lyon 10.04–12.07, then Eurostar Paris Gare du Nord–London St Pancras 14.43–16.00. A coach is provided for the journey across Paris. Anyone is welcome to join the transfer coaches whatever their onward journey. See page 14 for further details about the above travel options.

More about the concerts Private events. These concerts are planned and administered by Martin Randall Travel. The audience, no more than 120, consists exclusively of those who have booked the full festival package. Specific seats are not reserved. You sit where you want. Acoustics. This festival is more concerned with authenticity and ambience than acoustical perfection. While some of the venues have excellent acoustics, others have idiosyncrasies not found in modern concert halls. Changes. Musicians fall ill, venues require restoration, rivers flood (or run dry): there are many unforeseeable 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 due to the tide, to severe increases in water levels (which lead to the closure of locks) or indeed low levels of water. Such changes might necessitate more travel by coach. We ask you to be understanding should these events occur.

The Speakers Professor Richard Langham Smith. Music historian, broadcaster and writer with a particular interest in early music and 19th- and 20th-century French music. He has published widely on Debussy and Bizet in particular. His musical training was at the University of York and the Amsterdam Conservatory where he studied the harpsichord and early music performance practice. He is currently Research Professor at the Royal College of Music and a regular lecturer at several opera-houses. His new edition of Bizet’s Carmen was used by Sir John Eliot Gardiner for a run at the Paris OpéraComique and issued on a commercial video. He is currently working on a monograph on this opera and was admitted to the Ordre des Arts et des lettres in 1993, at the rank of Chevalier, for services to French culture. Marc Millon. Wine, food and travel author. Born in Mexico, he was raised in the USA before studying English Literature at Kenyon College and the University of Exeter. Together with his wife, he has pioneered a series of illustrated wine-food-travel books including The Wine and Food of Europe; The Wine Roads of France; The Wine Roads of Italy; The Wine Roads of Spain; The Food Lover’s Companion to France; The Food Lover’s Companion to Italy; Wine, a global history. He also has his own wine company, importing Italian wines from small family estates.

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The Rhône: Bacchus & Orpheus, 6–13 July 2017

NEW: AMADEUS PROVENCE

The Ship & Prices Stateroom, Mozart and Strauss Deck Suite, Mozart Deck

Pool Deck (Rendering)

The Ship The Amadeus Provence is one of the most comfortable cruisers on the waterways of Europe and the newest vessel in the Amadeus fleet. The multinational crew is dedicated to the highest standards of service.

ateroom, Mozart Strauss floor Deck area cabins are reasonably With a and minimum of 16m2 the ONBOARD FACILITIES

spacious by the standards•ofPanorama-Restaurant river cruisers. All have windows to the outside and are equipped •with the facilities one would expect of a Panorama-Bar Amadeus-Club first-class hotel including •shower, w.c., individually adjustable air• Outdoor glass-shielded conditioning, telephone, TV and safe. Special attention has been paid to noise insulation. “River Terrace” • Sun Deck with lounge chairs,

In layout and furnishings the cabins are identical, the significant shade awnings, giant Chess differences being the size ofBoard windows and height above water level and Shuffleboard (higher cabins enjoy better viewsDeck andwith fewer stairs). pool • Pool swimming and Lido-Bar • Fitness Room • Hair Salon, Massage Room • Gift Shop • Laundry Service • Complimentary bicycles onboard • Wi-Fi available • Elevator

ONBOARD FACILITIES • Panorama-Restaurant • Panorama-Bar • Amadeus-Club • Outdoor glass-shielded “River Terrace” • Sun Deck with lounge chairs, shade awnings, giant Chess STATEROOM AMENITIES Board and Shuffleboard • Suites (26,4 m2 / 284 sq.ft.) • Pool Deck with swimming pool with comfortable corner sofa, and Lido-Bar luxurious bathroom and walk-out • Fitness Room exterior balcony • Hair Salon, Massage Room • Staterooms (17,5 m2 /188 sq.ft.) • Gift Shop on Strauss and Mozart Deck with • Laundry Service drop-down panoramic windows • Complimentary bicycles onboard • Staterooms (16 m2 / 172 sq.ft.) • Wi-Fi available on Haydn Deck with smaller • Elevator panoramic windows (cannot

Cabins on the lowest (Haydn) deck have smaller windows (160 x 40 cm) which do not open. There are no single cabins as such but we are allocating some two-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 pool area with outdoor bar and a tented area for shade. www.lueftner-cruises.com

Suite

be opened) STATEROOM AMENITIES • Mini-Bar (all staterooms except • Suites (26,4 m2 / 284 sq.ft.) categories C-1 and C-4) with comfortable corner sofa, • Walk-in wardrobe luxurious bathroom and walk-out • Choice of bed configuration: exterior balcony double or twin bed • Staterooms (17,5 m2 /188 sq.ft.) • Flat-screen television on Strauss and Mozart Deck with • Individual climate control drop-down panoramic windows • En-suite bathrooms with • Staterooms (16 m2 / 172 sq.ft.) shower/WC on Haydn Deck with smaller • Bathrobe in Suites Suite A-1 B-1 panoramic windows (cannot • Hair dryer be opened) • Direct dial telephone • Mini-Bar (all staterooms except • In-room safe categories C-1 and C-4) • Walk-in wardrobe • Choice of bed configuration: double or twin bed • Flat-screen television • Individual climate control • En-suite bathrooms with shower/WC • Bathrobe in Suites • Hair dryer • Direct dial telephone • In-room safe Suite

Cabins on the top two decks (Mozart and Strauss 17m2) are the most desirable, with floor to ceiling drop-down panoramic windows (200 x 250 cm) minibars and walk-in wardrobes. Also on the Mozart deck are eight suites measuring approximately 26m2 which have a sofa, table and armchair, a bath, minibar, safe and a small balcony.

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A-1

B-4

B-1

C-1

B-4

C-1

C-4

Suite

Stateroom, Mozart and Strauss Deck

Stateroom, Mozart

C-4

TECHNICAL DATA • Built: 2017 • Registry: Germany • Length: 110 m | 361 fe • Width: 11 m | 36,5 fee • Draft: 1,45 m | 5 feet • Height above water: 6 m | 19,8 feet • Speed: 25 km/h | 15,5 • Decks: 4 • Staterooms/Suites: 62 • Max. passengers: 140 • Crew members: appro

Strauss Deck TECHNICALand DATA • Built: 2017 • Registry: Germany • Length: 110 m | 361 feet • Width: 11 m | 36,5 feet • Draft: 1,45 m | 5 feet • Height above water: Photographs and cabin plans, left: 6 mTop: | 19,8 feet suite. • Speed: 25 km/h | 15,5 mph Below: cabin on the Mozart/Strauss deck. • Decks: 4 on the Haydn deck are identical in layout (Those • Staterooms/Suites: and furnishings, but62/8 have smaller windows.) • Max. passengers: 140 • Crew members: approx. 40

Mâcon, early-19th-century engraving.

Prices All prices are per person Haydn deck (lowest) £3,040 or £3,650* for single occupancy Strauss deck (middle) £3,810 or £4,570* for single occupancy Mozart deck (top) £4,190 or £5,030* for single occupancy Suites (Mozart deck) £4,980 – two sharing only There is a reduction of £190 if you prefer to make your own travel arrangements – see page 14 for travel options. *All cabins are designed to accommodate two passengers. We make a limited amount of cabins on each deck available for single occupancy, which usually sell out quickly. Around three months before the start of the festival we may offer any remaining unsold cabins previously reserved for double occupancy to single travellers on the waiting list at a higher price (Haydn £4,150; Strauss £4,970; Mozart £5,530).

Fitness for the festival Quite a lot of walking is necessary to reach the concert venues and to get around the towns visited. The concert venues are not equipped with lifts. Participants need to be averagely fit, sure-footed and able to manage everyday walking and stairclimbing without difficulty. This festival is not really suitable for wheelchair users but please speak to us if you would like to discuss this. We ask that all participants take these quick and simple tests to ascertain whether they are fit enough: 1. Chair stands. Sit in a dining chair, with arms folded and hands on opposite shoulders. Stand up and sit down at least 8 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 2 minutes.   3. Agility test. Place an object 3 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 7 seconds.

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The Rhône: Bacchus & Orpheus, 6–13 July 2017

Joining & leaving the festival Travel from London by rail on Eurostar and TGV (high-speed train within France) are included in the price of the festival. Alternatively you can opt to fly to Lyon a day early (5th July) and return by plane on the last day of the festival – a supplement applies for taking this option. There is a reduction of £190 if you prefer to make your own travel arrangements.

Travel by Eurostar & TGV, first class Thursday 6th July. Depart London St Pancras station at 09.17; arrive at Paris Gare du Nord at 12.47. By coach across Paris to Gare de Lyon, where departure is at 14.57; arrive at Lyon PartDieu station at 16.56. Transfer to the ship by coach for embarkation at c. 5.45pm. Thursday 13th July. Depart Lyon Part-Dieu station at 10.04; arrive at Paris Gare du Lyon at 12.07. By coach across Paris to Gare du Nord, where departure is at 14.43; arrive at London St Pancras station at 16.00.

Fly from Heathrow; hotel in Lyon A supplement applies for this option which includes the return flight, coach transfers, a choice between two hotels for the night and breakfast. Wednesday 5th July. BA 362, departing London Heathrow 15.50, arriving Lyon St Exupéry 18.35. Transfer to your chosen hotel. Thursday 13th July. BA 361, departing Lyon St Exupéry 10.05, arriving London Heathrow 10.50. Departure for the airport from our mooring in Lyon is at 7.30am. In Lyon, stay either at: Hotel le Royal (lyonhotel-leroyal.com). Ideally located on the Place Bellecour, the main square of the Presqu’île. Elegant, welcoming and professionally run by the Accor group, with restaurant and bar. Locally rated as 5-star but more comparable to a good 4-star. Supplement price £140 per person (based on 2 sharing) or £210 double for single use. Or: Mercure Lyon Centre Beaux-Arts Hotel (mercure.com). A well located 4-star, 500 metres from the Place Bellecour. Behind the 19th-century façade are well-equipped and modern bedrooms. There is a bar but no restaurant. Supplement price £100 per person (based on 2 sharing) or £160 double for single use. Thursday 6th July is free for independent sightseeing in Lyon. A coach is provided from both hotels to the ship for embarkation at 4.15pm.

Illustration: engraving c. 1850. This brochure was produced in house. The text was written and edited chiefly by Emily Deaman and Martin Randall, with contributions from the lecturers. The brochure itself was designed by Jo Murray. It went to print on 9th August 2016.

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Regional airports We are happy to quote for connecting flights from regional airports. Please request this on the booking form.

Independent arrangements You can choose to make your own arrangements for joining and leaving the festival. There is a reduction of £190 per person for the package without travel. You are welcome to join our coach transfers from Lyon St Exupéry airport or Lyon Part-Dieu train station should your arrival coincide with the times above. Similarly on the final day of the festival you can join a transfer to the airport or rail station. If you plan to arrive in Lyon before 6th July and would like us to book a room for you at either Hotel le Royal or Mercure Lyon Centre Beaux-Arts, please contact us. Easyjet operate a daily direct route from London Gatwick, while Flybe operate from Manchester and Birmingham. British Airways fly London to Lyon at 06.40 on 6th July (hence we have chosen not to use it but fly a day earlier instead).

Pre- and post- festival tours Cave Art of France, 29 June–6 July 2017. Thursday 29th June: BA 2788, departing London Gatwick 19.15, arriving Bordeaux 21.55. Thursday 13th July: BA 361 departing Lyon St Exupéry 10.05, arriving London Heathrow 10.50 (festival flight). See pages 15–16 for full details of this tour. The Beaune Music Festival, 13–17 July 2017. Full details for this tour will be available in December 2016. Some preliminary information is given on page 16. Please register your interest in the meantime.

Pre- & post-festival tours

Cave Art of France

Prehistory in the Dordogne

29 June–6 July 2017 (md 331) Lecturer: Dr Paul Bahn Encompasses some of the most important Prehistoric caves in Europe including the new facsimile Lascaux IV, Pech Merle and Niaux. Great art, whatever its function or the ‘artist’s’ intention, in an area of outstanding natural beauty and charming villages. Led by Britain’s leading specialist in Prehistoric art, Dr Paul Bahn. Visiting the Ice Age decorated caves of Europe may be a pilgrimage, in homage to the region’s artists of 30,000–10,000 years ago, or it may simply be curiosity. But while one’s interest may have been triggered by books, television or lectures, there is simply no substitute for seeing the sites themselves, some of humankind’s greatest artistic achievements in their unusual, evocative and original settings. In addition, the caves of the Perigord and Quercy are in regions of outstanding beauty, famed for their wine and cuisine. Four nights are spent in the capital of Prehistory, Les Eyzies, a village filled and surrounded by famous Ice Age dwellings, its spectacular limestone cliffs giving it one of the most beautiful and striking landscapes in the world. Whatever your motivation or interest, a visit to an Ice Age cave is a tremendous privilege. After more than a century of research, we still only know about 400 such sites in Eurasia, and only a small fraction of these are open to the public, because of difficulties of access or conservation concerns. As such, they constitute a very limited and finite resource, and yet visitors can approach these original masterpieces extremely closely, an experience unparalleled in major art galleries. Unlike a visit to the Louvre or the Prado, in entering a cave you are seeing the images precisely where they were created, you are standing or crouching just where the artists did. In many cases the journey to the cave entrance and the route through the chambers give your experience a sense of immediacy, purity and vividness. Entering a world far removed from one of commerce, of art-dealers and of critics enhances a feeling of connection with the artists. There is nothing like a stalactite dripping on your head to remind you that you are in a pristine and natural setting.

Itinerary Day 1. Fly at c. 7.45pm (British Airways) from London Gatwick to Bordeaux. Overnight in Bordeaux. Day 2: Bordeaux, Pair-non-Pair. The Musée d’Aquitaine provides a perfect introduction to the archaeology and art of the Ice Age in southwest France; a particular highlight is the

Cahors, Pont Valentré and fortified gates and towers, watercolour by Frank Brangwyn RA, publ. 1915.

‘Venus of Laussel’ bas-relief carving. The cave of Pair-non-Pair is small but filled with wonderfully deep engravings of animals – and with no electrical installations provides a more authentic experience. Continue into the Dordogne to Les Eyzies for four nights. Day 3: Les Eyzies. The National Prehistory Museum, now housed in an ultra-modern building at the foot of the cliffs, has one of the world’s greatest collections of Ice Age material. The Abri Pataud is the best possible way to see what a major Ice Age excavation site looks like, while the small museum next door still has a carving on its ceiling. Font-de-Gaume is one of the greatest of all Ice Age decorated caves, with remarkable polychrome bison and other animals, skilfully placed to take full advantage of the rock shapes. Cap Blanc is the greatest sculpted frieze from the Ice Age that is open to the public.

most beautiful of all decorated caves, not only for its art, but also and especially for its natural formations of stalagmites and stalactites. Day 6: Pech Merle, Cahors, Toulouse. Pech Merle is among the greatest of the decorated caves. It is huge and has spectacular natural formations and a wide variety of artistic techniques, including the famous spotted horse panel. Some free time is spent in Cahors on route to Toulouse, where two nights are spent. Day 7: Niaux, Toulouse. The tour ends with Niaux, a fitting climax as the long walk into this Pyrenean mountain leads one to the ‘Salon Noir’ with its stunning drawings of bison, horses and ibex, and its extraordinary acoustics. The afternoon is free in Toulouse; suggestions include the Musée Saint-Raymond and the cathedral.

Day 4: Lascaux. Two fascimiles are now the public’s only chance to see the wonders of Lascaux, the most famous and most beautiful of all decorated caves. Visit the new, enlarged and more complete replica, Lascaux IV, opening to the public in December 2016. Lascaux II was the world’s first cave facsimile, opened in 1983. The park at Le Thot contains many of the animal species which were familiar to Ice Age people: aurochs, bison, horses, deer and ibex, as well as a robotic mammoth.

Day 8. Take the TGV (high speed train, c. 4 hours) from Toulouse to Lyon to join The Rhône: Bacchus & Orpheus. (Participants not combining with the festival return to London Heathrow, arriving at c. 12.20pm.)

Day 5: Rouffignac, Cougnac. Rouffignac is a unique experience; a decorated tunnel-like cave so vast that one travels around it in a train. Its art is hugely dominated by drawings of mammoths. The Grotte de Cougnac is one of the

Lecturer

Thursday 13th July, final day of the festival. Join flight BA361 (festival flight), returning to London Heathrow at 10.50am. Please note this tour departs from London Gatwick and returns to London Heathrow.

Dr Paul Bahn. Archaeologist and Britain’s foremost specialist in prehistoric art. He obtained his PhD at Cambridge and is a fellow

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Pre- & post-festival tours

Cave Art of France continued

The Beaune Music Festival

of the Society of Antiquaries and a corresponding member of the Archaeological Institute of America. He led the team which discovered Britain’s only known Ice Age cave art at Creswell in 2003 and his books include Prehistoric Rock Art, Journey Through the Ice Age and Images of the Ice Age.

13–17 July 2017 Lecturer: Prof. Richard Langham Smith Full details available in December 2016 Please contact us to register your interest

Practicalities Price, per person. Two sharing: £2,810 or £2,590 without flights. Single occupancy: £3,180 or £2,960 without flights. If you are not combining this tour with the festival, the price is, for two sharing: £2,730 or £2,510 without flights. Single occupancy: £3,100 or £2,880 without flights. Included: flights (Euro Traveller) with British Airways (Airbus A319); travel by private coach; hotel accommodation; breakfasts, 1 lunch and 4 dinners, with water, wine, coffee; all admissions; all tips; all taxes; the services of the lecturer, tour manager and local guides. Accommodation. Best Western Etche-Ona, Bordeaux (bordeaux-hotel.com): a central 3-star hotel with renovated rooms. Hotel Le Centenaire, Les Eyzies (hotelducentenaire.fr) a small 3-star hotel in a good location. Grand Hotel de l’Opéra, Toulouse (grand-hotel-opera. com) a central 4-star hotel in a converted 17thcentury convent, set back from the Place du Capitole; good Brasserie. How strenuous? There is a fair amount of walking on uneven and sometimes steep and slippery ground and caves are not well lit. Sure footedness is essential. It can get very damp and cold inside the caves. This tour is not suitable for people who suffer from claustrophobia. Average distance by coach per day: 69 miles. Group size: between 10 and 18 participants.

Now in its 35th year and established as one of the major French Music Festivals, the Beaune International Festival of Baroque and Romantic Opera centres on the well-known fifteenthcentury Hospices de Beaune, celebrated not only for its multicoloured roof of glazed tiles and for its annual auction of fine Burgundies, but also for its infirmary where music was sung to the sick lying in their carved wooden beds: a kind of Music Therapy avant l’heure. The equally magnificent Basilica of NotreDame is used for Oratorios and as a back up for the open-air performances which take place in the courtyard of the Hospices but move to the cathedral in inclement weather. Although the exact programme has yet to be announced, the past few festivals have featured the operas of Vivaldi and Rameau and the Oratorios of Handel. Many chamber concerts and recitals are programmed around these and there is always an event based on Romantic Opera. The splendid venue in central France has continually hosted the leading exponents of Early Music

Other tours preceding the festival It is also possible to link The Rhône: Bacchus & Orpheus with the following small-group tours. Please contact us to receive their full details or visit www.martinrandall.com

Brittany 26 June–2 July 2017 (md 369) Lecturer: Caroline Holmes Brittany’s landscapes captured and cultivated: gardens, châteaux and historic towns. Beautiful Belle-Ile, with optional coastal walk. The lecturer is Caroline Holmes, a garden historian with close family ties to Brittany.

30 June–3 July 2017 (md 380) Tour manager: Anthony Lambert A truly exceptional experience, staying as guests in one of the most spectacular stately homes in England. Your host is the Duchess of Rutland, your accommodation is Belvoir Castle – absolutely not a hotel but a (rather grand) family home.

The inspiration for colonies of Impressionist and Post-Impressionist artists.

Dinners in different rooms in the Castle, picnics in the park.

French Gothic

Talks and tours with estate staff and the Duchess focusing both on history and contents and on the management of the estates today.

The cradle of Gothic, northern Europe’s most significant contribution to world architecture. Nearly all the most important buildings in the development of Early and High Gothic, with an entire day at Chartres.

At home at Belvoir Castle

A local expert guides on some of the finest prehistoric sites in Europe.

26 June–2 July 2017 (md 330) Lecturer: Dr Matthew Woodworth

Illustration, above right: Beaune, after a drawing from ‘Agenda PLM’, 1926.

from France, England and Italy, such as the Gabrieli Consort, Andreas Scholl and Christophe Rousset. The operatic events are some of the most ambitious, focused on historical productions rather than modernist re-interpretations.

Unparalleled examples of stained glass, sculpture and metalwork.

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Private visits to two nearby country houses.

The Rhône: Bacchus & Orpheus, 6–13 July 2017

Booking form Name(s) as you would like it/them to appear to other festival participants Participant 1:

Participant 2:

Contact details for all correspondence Address Postcode/Zip Country Telephone (home) Mobile E-mail ☐ Please tick if you are happy to receive your festival/tour and booking documents by e-mail only, where possible. ☐ Please tick if you do NOT want to receive regular updates by e-mail on our other tours, music festivals and London Days. ☐ Please tick if you do NOT want to receive any more of our brochures.

What initially prompted your booking? For example, a marketing email from us, browsing on our website, or receiving this brochure.

Deck and cabin type. See pages 12–13. Haydn deck (bottom)

Strauss deck (middle)

Mozart deck (top)

☐ Single occupancy cabin

☐ Double cabin (beds together)

☐ Twin cabin (beds separate)

☐ Twin cabin (beds separate) ☐ Suite (twin/double – delete one)

Travel options. See page 14. Please tick one option only (please leave this section blank if you have booked the pre-festival tour). ☐ Travel by Eurostar & TGV, 1st class Depart London 6th July – the first day of the festival. Return 13th July.

☐ Own arrangements (reduction £190). Making my/our own way to and from the ship.

☐ Fly from Heathrow; hotel in Lyon Depart 5th July – the day before the festival begins. Return 13th July.

Please also choose a hotel in Lyon: ☐ Hotel le Royal ☐ Mercure Lyon Centre BeauxArts Hotel

Further information and special requests, including dietary requirements (even if you have told us before).

Pre-festival tour. Please tick to add to your festival booking. ☐ Cave Art in France 29 June–6 July 2017 (md 331) See pages 15–16 Room type ☐ Double room (two sharing) ☐ Twin room (two sharing) ☐ Double for single use Travel arrangements for pre-festival tour. Flying out with the tour group, and back with the festival group. ☐ I will take the return flights as specified in the tour itinerary. ☐ I will make my own arrangements for travel to the tour, and onwards at the end of the festival.

Post-festival tour: The Beaune Music Festival, 13–17 July 2017. See page 16. ☐ Please tick to register your interest.

The Rhône: Bacchus & Orpheus, 6–13 July 2017

Passport details. Essential for airlines and the ship/hotels, and in case of emergency during the festival or tour. Title

Surname

Forename(s)

Nationality

Place of birth

Date of birth (dd/mm/yy)

Passport number

Place of issue

Date of issue (dd/mm/yy)

Date of expiry (dd/mm/yy)

1 2

Next of kin or contact in case of emergency. 1. Name

Relation to you

Telephone

2. Name

Relation to you

Telephone

Payment amount. ☐ EITHER Deposit(s). 10% of your total booking cost. ☐ OR Full Payment. This is required if you are booking within 10 weeks of departure (i.e. 27th April 2017 or later). Carbon offset. We subscribe to Beyond Carbon, a carbon offset scheme approved by AITO. If you are taking our flights and wish to make a donation (£5 for short-haul flights), please tick below. Read more at www.martinrandall.com/responsible-tourism. ☐ I would like to add a carbon offset donation to my booking (please tick). TOTAL: £ Payment method. ☐ By cheque. I enclose a cheque payable to Martin Randall Travel Ltd – please write the festival code (md 388) on the back. ☐ By 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.

Bookings paid for by credit card will have 2% added to cover processing charges. This brings us into line with standard travel industry practice. It does not apply to other forms of payment.

☐ By bank transfer. Use your surname and the festival code (md 388) as a reference and ask your bank to allow for all charges.

Account name: Martin Randall Travel Ltd | Bank: Handelsbanken, 2 Chiswick High Road, London W4 1TH

For transfers from UK (Sterling) bank accounts: Account number 8663 3438 • Sort code 40-51-62

For transfers from non-UK bank accounts: IBAN: GB98 HAND 4051 6286 6334 38 • Swift/BIC code: HAND GB22

I have read and agree to the Booking Conditions on behalf of all listed on this form. Signature Date

ATOL 3622 | ABTA Y6050 | AITO 5085

Martin Randall Travel Ltd Voysey House, Barley Mow Passage, London W4 4GF, United Kingdom Tel +44 (0)20 8742 3355 Fax +44 (0)20 8742 7766 info@martinrandall.co.uk

Martin Randall Australasia PO Box 1024, Indooroopilly, QLD 4068, Australia Tel 1300 55 95 95 | New Zealand 0800 877 622 anz@martinrandall.com.au

www.martinrandall.com

USA Tel 1 800 988 6168

Canada Tel (647) 382 1644 | canada@martinrandall.ca

The Rhône: Bacchus & Orpheus, 6–13 July 2017

Booking details & conditions 1. Booking option We recommend that you contact us first to ascertain that your preferred deck and cabin type is still available. You can make a booking option which we will hold for one week (longer if necessary) pending receipt of your completed Booking Form and deposit. You can also make a booking option online.

2. Definite booking Fill in the Booking Form and send it to us with the deposit(s) or make a definite booking online, at www.martinrandall.com. It is important that you read the Booking Conditions at this stage, and that you sign the Booking Form if booking offline. Full payment is required if you are booking within ten weeks of the festival (i.e. 27th April 2017 or later).

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

Booking Conditions 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, often going beyond the minimum obligations. We aim to provide full and accurate information about our tours and festivals. 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. What 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. We reserve the right to refuse a booking without necessarily giving a reason. You need to have a level of fitness which would not spoil other participants’ enjoyment of the festival or tour by slowing them down – see ‘Fitness for the festival’ on page 13. To this end we ask you to take the tests described. By signing the booking form you are stating that you have met these requirements. If during the festival or tour it transpires you are not able to cope adequately, you may be asked to opt out of certain visits, or be invited to leave altogether. This would be at your own expense.

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Insurance. It is a requirement of booking that you have adequate holiday insurance for the duration of your holiday with Martin Randall Travel Ltd. Cover for medical treatment, repatriation, loss of property and cancellation charges must be included. Insurance can be obtained from most insurance companies, banks, travel agencies and (in the UK) many retail outlets including Post Offices. Experience tells us that free travel insurance offered by some credit card companies is not reliable in the event of a claim. Passports and visas. Participants must have passports, valid for at least six months beyond the date of the festival. No visas are required for travel in France for UK or other EU citizens, or for citizens of the USA, Canada, Australia or New Zealand. Nationals of other countries should ascertain whether visas are required in their case, and obtain them if they are. If you cancel. If you have to cancel your participation in the festival or tour there would be a charge which varies according to the period of notice you give. Up to 57 days before departure the deposit only is forfeited. Thereafter a percentage of the total cost will be due: from 56 to 29 days: from 28 to 15 days: from 14 to 3 days: within 48 hours:

40% 60% 80% 100%

If you cancel your booking in a double or twin cabin but are travelling with a companion who chooses not to cancel, the companion will be liable to pay the single occupancy price. We take as the day of cancellation that on which we receive your written confirmation of cancellation. If we cancel the festival or tour. We might decide to cancel the festival or tour if at any time up to eight weeks before departure there were insufficient bookings for it to be viable. We would refund everything you had paid to us. Safety and security. If the UK Foreign and Commonwealth Office advises against travel to places visited on a tour or festival, we would cancel it or adjust the itinerary to avoid the risky area. In the event of cancellation before departure, we would give you a full refund. We would also treat sympathetically a wish to withdraw from a tour to a troubled region even if the FCO does not advise against travel there. Seatbelts. Our tours and festivals subscribe to the health and safety legislation of the destination. In some parts of the world the law concerning seatbelts differs to the UK. The limits of our liabilities. As principal, we accept responsibility for all ingredients of the festival or tour, 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 the festival or tour exactly as advertised. We would try to devise a satisfactory alternative, but if the change represents a significant loss to the festival or tour

we would offer compensation. If you decide to cancel because the alternative we offer is not acceptable we would give a full refund. Financial protection: ATOL. 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 flightinclusive 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. Financial protection: ABTA. We provide full financial protection for our package holidays that do not include a flight, by way of a bond held by ABTA The Travel Association. 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 nonprovision 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.

Martin Randall Travel Ltd Voysey House Barley Mow Passage, London W4 4GF United Kingdom Tel +44 (0)20 8742 3355 Fax +44 (0)20 8742 7766 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 Canada Tel (647) 382 1644 canada@martinrandall.ca USA Tel 1 800 988 6168 (connects with London office)

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Illustration: Avignon, engraving 1635 by Mérian.

More music festivals in 2017: A Festival of Music in Florence 13–18 March 2017 Toledo: A Festival of Spanish Music 20–25 May 2017 ‘The Miracle of Salzburg’ 18–24 June 2017 The Danube Music Festival 20–27 August 2017 The Johann Sebastian Bach Journey 4–10 September 2017 Vivaldi in Venice 6–11 November 2017 Please contact us for information.