Salzburg String Quartet Festival, 7–12 May 2024

CELEBRATING MUSIC AND PLACE

7–12 MAY 2024

Exploring the string quartet in all its diversity and richness in one of the loveliest little cities on the Continent.

SALZBURG STRING QUARTET FESTIVAL

7–12 MAY 2024

MOZART ALONG THE DANUBE

28 JULY–4 AUGUST 2024

THE DIVINE OFFICE SEPTEMBER 2024

OPERA IN SICILY

18–24 OCTOBER 2024

UK SHORT CHAMBER MUSIC BREAKS: Consone Quartet | 3–5 November 2023

Mandelring Quartet | 8–10 March 2024

William Howard & the Carducci Quartet | 19–21 April 2024

Photograph taken during The Bach Journey in 2019 – another Martin Randall Festival. ©Ben Ealovega.

4.

12. SALZBURG STRING QUARTET FESTIVAL: AN INTRODUCTION

6.

THE FESTIVAL PROGRAMME

The day-by-day itinerary including details of the concerts.

MEET THE MUSICIANS

We have engaged international string quartets of the highest calibre, from rising stars to established greats.

16.

ACCOMMODATION & TRAVEL

Choose from five hotel options and a range of flights.

19. PRE-FESTIVAL TOUR

Extend your stay in Austria with a tour that has been designed to link with the festival.

20.

BOOKING

Details of how to book, along with the booking form and our conditions.

Date of publication: May 2023

SALZBURG STRING QUARTET FESTIVAL AN INTRODUCTION

The apogee of achievement in classical music is the string quartet. For intensity of feeling, intimacy of communication and sheer cerebral accomplishment, composers and performers of music for four members of the violin family are, at their best, unequalled.

WHY STRING QUARTET?

Press a virtuoso soloist or a rank-andfile orchestral player and they are likely to confess that what they really want to be doing is playing in a chamber group. Those who do dedicate themselves to the string quartet can produce supreme heights of artistic expression and miracles of technical brilliance arising from collaboration of a closeness unparalleled in any other sphere.

THE PLACE

For ‘chamber’, substitute ‘small hall’, an architecturally accurate description of all seven venues engaged for this festival, though not one that gives a hint of the handsomeness of these largely hidden historical spaces.

Salzburg is probably the best possible location for a music festival (and indeed we are not the first to have realised that). Crammed into a cleft in the hills scoured by the fast-flowing River Salzach, the former seat of prince-archbishops is as dense with delights as any small town in Central Europe. A congeries of courts, alleys, passages, streets and squares threads through ancient structures of stone and stucco and enthrals both the visitor and the resident with picturesque vistas, magnificent architecture and fine craftsmanship.

Perhaps more than any city of comparable size, there is an array of fine hotels from which to choose. And, constrained by the cliffs that mark the landward edge of the old city, it is small: all the hotels and concert venues, as well as the museums and the architectural monuments, are within easy walking distance of each other.

THE MUSIC

This new festival – unlikely to be repeated for a number of years – brings together eight absolutely first-rate string quartet ensembles, ranging from the young but hugely talented to world-famous masters of the genre: the Casals, Chiaroscuro, Cremona, Marmen, Navarra, Schumann, Simply and Wihan all appear.

The range of quartets performed is balanced carefully between the greatest core composers (Haydn, Mozart, Beethoven, Schubert) and a range of styles and nationalities (Verdi, Ravel, Dvořák) – with a judicious peppering of additional performers (Mendelssohn Octet, Schubert Quintet).

With twelve concerts and multiple opportunities to meet the musicians, this will be a Martin Randall Festival like no other – an intense and convivial musical experience, enlightening and thrilling.

Illustration: Salzburg, lithograph by Leopold Rottmann after a drawing by Georg Pezolt.

THE FESTIVAL PACKAGE

The price includes:

— Twelve private concerts in historic and appropriate buildings.

— Accommodation for five nights –choose between five hotels.

— Return flights between London and Munich (reduced price if you arrange your own). See page 18.

— All breakfasts, three dinners, and interval drinks.

— Talks on the music by Dr Katy Hamilton and the musicians performing.

— Coach travel between Munich airport and Salzburg.

— All tips, taxes and admission charges.

— The assistance of festival staff and a detailed programme booklet.

OPTIONAL EXTRAS

— Joining our pre-festival tour, Habsburg Austria , 29 April–6 May 2024. See page 19.

— Arriving a day early at your festival hotel. See pages 16–17.

— Details of further optional extras, e.g. two extra dinners, visits to the Mozart Autograph vault etc. will be sent at a later date to all festival participants.

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, Artistic Director, in consultation with Martin Randall and Yasmin Hilberdink. It follows the format that Martin Randall established 30 years ago with our first Danube Music Festival . Since then we have organised festivals along the Rhine, Loire and Seine rivers, in Suffolk, York, Oxford, Lincoln, the Cotswolds and the West Country, to Seville, Toledo, Burgos, Santiago, Venice, Rome, Bologna, Sicily, the Veneto, to St Petersburg, through Thuringia, and the Alentejo.

ARTISTIC CONSULTANT

Yasmin Hilberdink

Born into an international family and having lived in both Istanbul and Vienna, Yasmin Hilberdink has developed a broad knowledge of classical music, as well as a passion for it. In Vienna she was the Artistic Director of the Schloss Grafenegg festival. In Amsterdam, where she has lived since 2002, she has been director of KAM (Chamber Music Society of Amsterdam), which organises chamber music concerts in the Concertgebouw, for more than ten years. In 2016 she founded the String Quartet Biennale Amsterdam in the Muziekgebouw and she remains its Artistic Director.

More about the concerts: see page 9 for an idea of what to expect.

THE FESTIVAL PROGRAMME

Arrive a day early

Monday 6 May

Day 1

Tuesday 7 May

We are offering the option of arriving at your hotel a day before the festival begins –see pages 16–17 for accommodation and prices.

The price includes the flight, transfer from Munich to Salzburg and an extra night at your festival hotel. Dinner is independent.

We have booked seats on a number of flights from London to Munich. Details are available on page 18. Transfer by coach from Munich to Salzburg.

The first festival event is a drinks reception and dinner in your hotel, or a nearby restaurant, before making your way to the Mozarteum for the opening concert.

Concert, 9 00pm Mozarteum, Wiener Saal Schumann Quartet Simply Quartet

B eethoven | String Quartet No.11 in F minor Op.95 Quartetto serioso Mendelssohn | Octet in E flat Op.20

It may seem paradoxical to open a quartet festival with music for eight strings. But with a work of such youthful verve and inventiveness – arguably the greatest ever produced by a teenager – who could complain? The Octet is paired with a quartet which we know Mendelssohn revered: Beethoven’s turbulent, fanatically concentrated Quartetto serioso of 1810, written, according to the composer, not for the public but for a small group of connoisseurs.

The several institutions which bear the Mozarteum name have their roots in the 50th anniversary commemorations of Mozart’s death, which took place in Salzburg in 1841, his widow Constanze being the prime mover. A concert hall was one of the outcomes. The current building opened in 1910 in a style which is vaguely Art Nouveau and loosely evokes décor of Mozart’s time. Our concerts are in the smaller of the two auditoria, the Wiener Saal (Viennese Hall).

Day 2

Wednesday 8 May

This morning and afternoon the audience is split into two.

Short talks are given just before these, and the remaining concerts during the festival, by Dr Katy Hamilton or the musicians themselves.

Concert, 10.30am or 2.15pm Residenz, Konferenzzimmer Schumann Quartet

Mozart | String Quartet No.15 in D minor K.421

Brahms | String Quartet No.3 in B flat Op.67

Mozart famously dubbed the six quartets he dedicated to his friend Haydn ‘the fruits of long and arduous labour’. In the second of these masterpieces, K.421, the minor key is the cue for a work in which pathos can shade into tragedy. Its companion is the last and most relaxed of Brahms’s quartets, music which revives the spirit of Haydn in the composer’s own romantic idiom.

The Royal Privy Council used to gather in the Konferenzzimmer (‘Conference Room’), which has red silk wall hangings dating to c. 1770. Here, at the age of six, Mozart gave his first concert at court, and many of his works – for instance his A major Violin Concerto K.219 – were first performed here.

Concert, 10.45am or 2.15pm Hotel Sacher, Wintergarten Simply Quartet

H aydn | String Quartet No.1 in G Op.77

Schumann | String Quartet No.1 in A minor Op.41 No.1

‘The music, the programming, the venues were all brilliant.... the performances will stay in the memory as pinnacles of musical experience.’

Haydn’s last two completed quartets, published as Op.77, gloriously crown a lifetime’s endeavour while gazing into the 19th century. Some 40 years later, Robert Schumann steeped himself in the string quartets of Haydn, Mozart and Beethoven before embarking on three quartets of his own. All three infuse traditional Classical forms with Schumann’s unique poetry and fantasy.

Concert, 6.30pm Marionette Theatre

Navarra Quartet

Britten | String Quartet No.1 in D Op.25 Schubert | String Quartet No.14 in D minor Death and the Maiden

From its otherworldly opening, Britten’s First String Quartet, composed in the USA in 1941, is a work of haunting originality. The nocturnal slow movement foreshadows the Moonlight interlude in Peter Grimes, while the finale sparkles with a Haydnesque wit and zest. Britten would have approved of his quartet’s pairing with the demonically driven Death and the Maiden Quartet by his beloved Schubert.

50 years ago the ballroom of the former Mirabell Hotel became the first permanent home of the internationally famous Salzburg Marionette Theatre. The delightful interior and acoustics make this charming little theatre an excellent venue for chamber music.

The concert is followed by dinner for all participants.

Participation in our festivals is a very different experience from conventional group travel.

No repetitive or redundant announcements, no herding by elevated umbrella, no unnecessary roll calls, little hanging around. We work on the assumption that you are adults, and our staff cultivate the virtue of unobtrusiveness.

Although there will be up to 140 participants, you will often find yourself in smaller groups – the audience is divided between five hotels, and into different restaurants for some of the dinners.

For those who are not averse to group activities there are extra meals and visits to sign up to. You choose the level of participation that suits you.

We provide sufficient information to enable you to navigate the festival events without needing to be led. However, festival staff are also stationed around the events to direct you if needed.

Meet the musicians. See pages 12–15 for their full biographies.

Illustration, opposite: Salzburg, etching by Luigi Kasimir. Photograph above taken on a Martin Randall Festival ©Ben Ealovega.

THE FESTIVAL PROGRAMME

Day 3

Thursday 9 May

Concert, 10.10am

University Mozarteum, Solitär Quartetto di Cremona

Wolf | Italian Serenade

Verdi | String Quartet in E minor Mozart | String Quartet No.1 in G Lodi

This programme might be dubbed ‘The Italian Connection’. The teenaged Mozart composed his breezy first quartet while holed up in an inn in Lodi. Wolf’s bouncy, tuneful Italian Serenade proclaims the composer’s lifelong love of the south. Verdi insisted that he had written his sole quartet ‘for mere amusement’. Yet as he must have secretly acknowledged, he created a work whose grace and lightness of touch conceal the subtlest craftsmanship.

Solitär is a cuboid, stone-clad, acoustically excellent concert hall which opened in 2006. The wall behind the stage is entirely glass, allowing views over the Mirabell Gardens and the hills beyond.

Make your way up to the Hohensalzburg Fortress either on foot, or by funicular.

Concert, 2 15pm

Hohensalzburg Fortress, Wappensaal Wihan Quartet

Haydn | String Quartet in D Op.64 No.5 The Lark Dvořák | String Quartet No.10 in E flat Op.51 Slavonic

Among Haydn’s 68 string quartets, those with nicknames have always been the most popular. High on anyone’s list is the ever-delectable Lark Quartet, which takes its name from the first movement’s highsoaring violin melody. It makes a perfect fit with the pastoral lyricism of Dvořák’s quintessentially Czech Op.51 Quartet, composed shortly after the Slavonic Dances had brought him international fame.

The fortified hilltop residence of the archbishops of Salzburg was begun in 1077. Six centuries of extension and accretion resulted in a structure that dominates the skyline of the old city and is one of the largest fortresses in Europe, its defensive capability being successfully tested as late as the 17th century. The dark wood panelling and ceiling of the Wappensaal (Heraldic Hall) provide agreeable acoustics as well as charm.

Dinner is independent. Return to the Wiener Saal for the evening concert.

Concert, 8.20pm

Mozarteum, Wiener Saal

Chiaroscuro Quartet

Christian Poltéra cello

Beethoven | String Quartet No.8 in E minor Op.59 No.2 Razumovsky

Schubert | String Quintet in C D956

With Beethoven’s mighty Razumovsky quartets of 1806 the string quartet moved decisively from a private to a public medium. At the heart of No.2 is one of his most visionary slow movements, inspired by the music of the spheres. Similarly exalted and otherworldly, and sharing the same key of E major, is the Adagio of Schubert’s famous C major String Quintet, music which the writer Thomas Mann asked to hear on his deathbed.

Extra dinners

Choose to join two extra dinners on Thursday 9 and Friday 10 May. This ensures that you eat in the company of other festival participants on all evenings. Full details will be sent to all participants at a later date.

Optional visits

Details of a chance to visit the Mozart Autograph Vaults will be sent to all festival participants at a later date.

‘The music is sublime, a sagacious mix of familiar and explorative much enhanced by talks given every day.’

Day 4

Friday 10 May

This morning and afternoon the audience is once again split into two.

Concert, 10.20am or 2.20pm

Hotel Sacher, Wintergarten Marmen Quartet

Haydn | String Quartet in D Op.33 No.6

Fisher | Heal

Ravel | String Quartet in F

Haydn claimed that his Op.33 quartets were composed in a ‘new and special’ manner, having not composed for the genre for almost ten years. Heal is an eight-minute work which was heavily influenced by the pandemic and the social distancing and healing that went with it, commissioned especially for the Marmen Quartet and written by New Zealander Salina Fisher. Maurice Ravel’s String Quartet of 1903 ranges from the chaste classicism of its opening to a finale of wild contrasts inspired by Russian folk models. The ear-catching pizzicato scherzo , evoking Ravel’s beloved Spain, has become a favourite quartet encore piece.

In a world seemingly creaking under the weight of luxury hotels and their selfproclaimed wonders, the name of Sacher stands out as the genuine article. The Viennese hotel, founded in 1876, took over the venerable Österreichischer Hof in Salzburg in 1988; they are still family owned and run. The hotel’s conservatory, or Wintergarten, overlooks the fastflowing River Salzach and the domes and spires of the Old Town.

Return to the University Library Hall for this morning or afternoon’s concert.

Concert, 6.00pm

University Mozarteum, Solitär Wihan Quartet

Mozart | String Quartet No.23 in F K.590

Janáček | String Quartet No.2 Intimate Letters

Lateness is the linking factor in this Mozart-meets-Janáček programme. Both works are their composer’s last quartets. Highlighting the cello (the king’s own instrument), K.590 is one of a set of three Mozart intended to dedicate to the King of Prussia. Janáček’s Intimate Letters is a passionate, often disturbed distillation of his feelings for Kamila Stösslová, the inspiration of so many works from his torrential final decade.

Dinner is independent this evening. Return to the Solitär for the late evening concert.

Concert, 9 20pm

University Mozarteum, Solitär Quartetto di Cremona

Shostakovich | String Quartet No.8 in C minor Op.110

Beethoven | String Quartet No.15 in A minor Op.132

While the string quartet is a famously abstract genre – music about music –both these works have autobiographical resonances. Composed in half-ruined Dresden, Shostakovich’s Eighth Quartet is peppered with self-quotations and weaves the composer’s four-note monogram into each of its movements. In the unearthly Heiliger Dankgesang of Op.132 Beethoven gives thanks to his recovery from serious illness and seems to contemplate his own mortality.

More about the concerts

Private. All the performances are planned and administered by us, and the audience consists exclusively of those who have taken the festival package.

Seating. Specific seats are not reserved. You sit where you want.

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

Illustration, opposite: Salzburg, Neues Schloss, woodcut c. 1920 by Frank Seidl.

THE FESTIVAL PROGRAMME

Day 5

Saturday 11 May

Return to the Wiener Saal for the third and final time, for a morning concert.

Concert, 10.10am

Mozarteum, Wiener Saal

Marmen Quartet

Wihan Quartet (Brahms Sextet only)

Ligeti | String Quartet No. 1, Metamorphoses nocturnes

Brahms | String Sextet No.1 in B flat Op.18

Ligeti’s first string quartet was heavily inspired by fellow Hungarian Bartók’s works, to the extent that Kurtág called it ‘Bartók’s seventh string quartet’. Like our first concert, this programme expands the string quartet, this time into a sextet. Six instruments allowed Johannes Brahms to indulge his love of warm, saturated sonorities. In his lyrically expansive B-flat Sextet he pays oblique homage both to Schubert’s String Quintet and (in the slow movement) to J.S. Bach.

The afternoon is free.

Concert, 6 30pm

Residenz, Ritter Saal

Cuarteto Casals

Haydn | String Quartet in A Op.20 No.6

Mozart | String Quartet No.19 in C Dissonance

Beethoven | String Quartet No.9 in C Op.59 No.3 Razumovsky

Fittingly, our finale is a celebration of the great Viennese Classical trinity, in quartets ranging from the sunniest of Haydn’s epoch-making Op.20 set of 1772 – the year the string quartet came of age – to the most extrovert of Beethoven’s three Razumovsky quartets. In between comes

Mozart’s ever-popular Dissonance Quartet, whose harmonically nebulous slow introduction quickly became something of a cause célèbre.

The Rittersaal (Knights’ Hall) has a ceiling painted about 1700 by the greatest of Austrian Baroque painters, Johann Michael Rottmayer, Under Prince-Archbishop Franz Anton Harrach (1709–1727), Rottmayr was commissioned to make a series of paintings illustrating the career of Alexander the Great, starting in the Knights’ hall and accompanying the marvelling viewers through the subsequent rooms.

The final concert is followed by a gala dinner in the adjacent Caribinieri Hall of the Residenz.

Day 6

Sunday 12 May

Depending on your flight option there may be further free time in Salzburg.

See page 18 for flight details.

Fitness for the festival

Some walking is necessary to reach the concert venues, but all are within easy reach of each other and the hotels (no more than 1km at the very most, often much closer than this). As all are located within the centre of Salzburg, it is much more convenient to travel on foot rather than having to rely on taxis through what are often pedestrianised areas. Many of the concert venues have stairs, and some do not have a lift. You need to be averagely fit, sure-footed and able to manage everyday walking and stair-climbing without difficulty.

We ask that you take the simple fitness tests on page 20 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.

Illustration, above left: Mozart’s house in Salzburg, drawing by W.H. Drake c. 1880. Opposite: copper engraving by Braun & Hogenberg, 1581–88.

MEET THE MUSICIANS

Photograph ©Ben Ealovega.

CUARTETO CASALS

Cuarteto Casals was founded in 1997 at the Escuela Reina Sofía in Madrid. Since winning First Prize at both the London and Brahms-Hamburg competitions, it has been a regular guest at the world’s most prestigious concert halls.

In 2020 Harmonia Mundi released the final instalment of Cuarteto Casals’ threevolume survey of the complete Beethoven quartets, to great critical acclaim. The following year, the quartet released the second part of its recording of the six Mozart quartets dedicated to Haydn, described by Strad magazine as ‘a poignant distillation of the music’s very essence.’

In addition, the quartet has been profoundly influenced by its work with living composers, especially György Kurtág, and has given the world premiere of quartets written by leading Spanish composers.

In recognition of its unique contributions to the cultural life within Catalunya and throughout Spain, Cuarteto Casals has been acknowledged as Cultural Ambassadors by the Generalitat of Catalunya and the Institut Ramon Llull.

CHIAROSCURO QUARTET

Formed in 2005, Chiaroscuro Quartet has been dubbed ‘a trailblazer for the authentic performance of High Classical chamber music’, and performs on gut strings and with historical bows. The quartet’s unique sound – described in The Observer as ‘a shock to the ears of the best kind’ – is highly acclaimed by audiences and critics all over Europe.

Among its awards are the German Förderpreis Deutschlandfunk/Musikfest Bremen prize in 2013 and Germany’s most prestigious CD award, the Preis der Deutschen Schallplattenkritik in 2015.

Recent engagements include enthusiastically received debut concerts at Vienna Konzerthaus and Philharmonie Warsaw, its debut at Carnegie Hall as part of its first US tour and a return visit to Japan. Other highlights are performances at the Edinburgh International Festival, Concertgebouw Amsterdam, London’s Wigmore Hall and King’s Place, Auditorio Nacional de Música Madrid.

CHRISTIAN POLTÉRA

Since replacing Yo-Yo Ma performing the Elgar concerto with the Tonhalle Orchestra Zurich under David Zinman at the age of 17, Christian Poltéra has steadily established himself as one of the most prominent cellists of his generation. As soloist he has worked with many of the eminent orchestras of the world under conductors such as Riccardo Chailly, Bernard Haitink, John Eliot Gardiner, Paavo Järvi and Andris Nelsons.

QUARTETTO DI CREMONA

Since its formation in 2000, the Quartetto di Cremona has established a reputation as one of the most exciting chamber ensembles on the international stage. Regularly invited to perform at major music festivals and halls, the quartet garners universal acclaim for its high level of interpretive artistry.

Photographs,

Highlights of recent and upcoming seasons are performances at Wigmore Hall, the Concertgebouw, Elbphilharmonie and Berlin’s Konzerthaus. North American tours are twice yearly, with a Carnegie Hall debut scheduled for October 2023 and a reinvitation from the Chamber Music Society in March 2024 at the Lincoln Center.

Previous prize-winning recordings include Italian Postcards, a double Schubert CD and the complete Beethoven String Quartets.

In 2019 it received the Franco Buitoni Award for its constant contribution to the promotion of chamber music in Italy and around the world.

clockwise from top left: Cuarteto Casals ©David Ruano; Quartetto di Cremona ©Nikolaj Lund; Chiaroscuro Quartet ©Agnese Blaubarde.

MARMEN QUARTET

With a growing reputation for the courage, vitality and intensity of its performances the Marmen Quartet is fast establishing itself as one of the most impressive and engaging new talents in the chamber music arena. Multiple prizes include First Prize at both the Bordeaux and Banff International String Quartet Competitions.

The Quartet has performed at many prestigious venues including Wigmore Hall and Berlin Philharmonie, as well as appearing regularly across Sweden. Festival engagements have taken it to the Amsterdam String Quartet Biennale and BBC Proms, among others.

2022 saw the Quartet take up its position as Peak Fellowship Ensemble-in-Residence at the Meadows School of the Arts in Dallas, and in the 22/23 season it took part in the Australian National Academy of Music’s Quartetthaus project, hosted by the Royal Albert Hall.

Further engagements include the Heidelberg String Quartet Festival, an extensive tour of Ireland and performances in Israel.

NAVARRA QUARTET

The London-based Navarra Quartet has built an international reputation as one of the most dynamic and poetic string quartets of today. Selected for representation by YCAT (2006–10), it has been awarded the MIDEM Classique Young Artist Award, a BorlettiBuitoni Trust Fellowship, a Musica Viva tour, and prizes at the Banff, Melbourne and Florence International String Quartet Competitions.

The Navarra Quartet appears regularly at major venues throughout the world and international festivals such as Lockenhaus, Aldeburgh, Bath, Lammermuir, Bergen, Heidelberg, Aix-en-Provence and the BBC Proms.

Looking forward to the new season, the Navarra Quartet will be touring to Ireland, Scotland, Spain, and its festival in Weesp (Holland) focusing on eclectic repertoires containing Mozart, Bartók and Dvořák quartets as well as new commissions dedicated to the group. Navarra Quartet will also be recording Edward Gregson’s complete chamber music for strings and the first volume of the Mozart Celebrated String Quartets.

SCHUMANN QUARTET

‘Fire and energy. The Schumann Quartet plays staggeringly well [...] without doubt one of the very best formations among today’s abundance of quartets, […] with sparkling virtuosity and a willingness to astonish’ (Süddeutsche Zeitung ).

The three brothers, Mark, Erik and Ken Schumann, have been playing together since childhood – while violist Veit Hertenstein completes the quartet.

A special highlight of the 22/23 season was a concert tour to Singapore, followed by concerts in Adelaide. It also performed multiple times at the Concertgebouw Amsterdam and Wigmore Hall, and undertook a major European tour with Anna Vinnitskaya in Spring 2023.

Its recordings are highly esteemed – Intermezzo won an Opus Klassik award, and Landscapes received the Jahrespreis der deutschen Schallplattenkritik, five Diapasons and was selected as Editor’s Choice by BBC Music Magazine.

Photographs, clockwise from top left: Marmen Quartet ©Marco Borggreve; Schumann Quartet ©Harald Hoffman; Navarra Quartet.

SIMPLY QUARTET

Originally founded in Shanghai under the auspices of Jensen Horn-Sin Lam, the Simply Quartet moved to Vienna to explore the essence and origins of quartet playing. It has already been awarded four first prizes at renowned chamber music competitions, taken part in the Great Talent programme at Vienna Konzerthaus, and was recently one of the selected ensembles of the ECHO Rising Stars series.

‘The Simply Quartet doesn’t play in front of, but explicitly for their audience, which makes everyone feel spoken to.’ (Süddeutsche Zeitung ).

The quartet is continuously searching for a deep understanding of the inherent language of music. It places great emphasis on combining the three contrasting cultures (China, Austria, Norway) upon which it draws inspiration to develop a musical language of its own.

Performances in 2023 include the Concertgebouw Amsterdam, Musikverein Vienna, Wigmore Hall, and concerts in Denmark, Norway and Colombia, among others.

‘I thought that the whole programme was magical and beautifully organised.

WIHAN QUARTET

The Wihan Quartet has been described by International Record Review as: ‘one of the best quartets in the world today’, and since its formation over 35 years ago, has developed an outstanding reputation for the interpretation of its native Czech heritage, alongside the many classical, romantic and modern masterpieces of the string quartet repertoire.

As well as performing at many festivals in the Czech Republic and other parts of Europe, the Wihan Quartet has won many international competitions including The Prague Spring Festival and the Osaka Chamber Festa.

Much praise has been received for its recordings – Dvořák Op.34/Op.105 was chosen as a Recording of the Year by MusicWeb International and BBC Music Magazine found Dvořák Op.61 to be ‘the finest recorded performance I have encountered to date’.

It is a great supporter of the work of the CAVATINA Chamber Music Trust, which gives inspirational concerts and master classes to young people in many parts of the UK.

Photographs, left to right: Simply Quartet ©Cristina Ferri; Wihan Quartet ©Petra Kajska.

ACCOMMODATION & PRICES

There is a choice of five hotels in Salzburg.

Your choice of hotel is the sole determinant of the different prices.

There is also the option of arriving at your hotel a day before the festival begins (6 May).

All prices given here are per person.

HOTEL AM MIRABELLPLATZ

A 4-star hotel located on the opposite side of the Salzach river from the Old Town, near the Mirabell Palace Gardens and Mozarteum concert venues. Decor is a mixture of modern and traditional, with a slightly functional feel but comfortable nonetheless. There is no restaurant (apart from for breakfast), and most bathrooms have showers rather than baths.

PRICES, PER PERSON

ARRIVING 6 MAY (A DAY EARLY)

Two sharing

Standard double/twin £3180

Single occupancy

Standard double for single occupancy £3650

ARRIVING 7 MAY

Two sharing

Standard double/twin £2980

Single occupancy

Standard double for single occupancy £3360

RADISSON HOTEL ALTSTADT

Recently awarded 5 stars, this Radisson Hotel is located in various connected buildings, with one entrance opening onto the Salzach river and the other onto one of the main pedestrianised streets in the centre of the Old Town. The breakfast room has an excellent view of the river. There is no formal restaurant, but the hotel has a bar and a café that is open for lunch and dinner. The house style is traditional with some splashes of colour. Most bathrooms have a bath with shower attachment.

PRICES, PER PERSON

ARRIVING 6 MAY (A DAY EARLY)

Two sharing

Standard double/twin £3710

Single occupancy

Standard double for single occupancy £4410

ARRIVING 7 MAY

Two sharing

Standard double/twin £3460

Getting to and from the festival: see overleaf.

Prices without flights: subtract £170.

Single occupancy

Standard double for single occupancy £4030

HOTEL BRISTOL

An excellently-run, privately-owned, 5-star hotel across the river from the Old Town and a few minutes walk from the Mozarteum, where many concerts of the festival are held. The decor is traditional, rich and tasteful. Rooms are equipped with all mod cons, including adjustable air-conditioning. All rooms have baths with shower attachments. Other amenities include a sophisticated restaurant and bar.

PRICES, PER PERSON

ARRIVING 6 MAY (A DAY EARLY)

Two sharing

Superior double/twin £4110

Single occupancy

Standard double for single occupancy £4710

ARRIVING 7 MAY

Two sharing

Superior double/twin £3820

Single occupancy

Standard double for single occupancy £4310

HOTEL GOLDENER HIRSCH

Located in the heart of the Old Town, a few doors down from Mozart’s birthplace, the 5-star Goldener Hirsch is a refined, traditional hotel, decorated in a classic Austrian style. Though the decor has a rustic feel, rooms are well equipped with the amenities of a luxury hotel, with modern touches thoughtfully integrated into the traditional furnishings. The hotel has two excellent restaurants, and a bar. Service is impeccable.

PRICES, PER PERSON

ARRIVING 6 MAY (A DAY EARLY)

Two sharing

Junior Suite double/twin £4490

Single occupancy

Deluxe double for single occupancy £5280

ARRIVING 7 MAY

Two sharing

Junior Suite double/twin £4110

Single occupancy

Deluxe double for single occupancy £4750

HOTEL SACHER

A long-standing hotel with an excellent reputation, the 5-star Sacher is situated on the banks of the Salzach river and is a 5-minute walk from both the Mirabell Palace and the Old Town. Stylish, elegant decor in neutral tones is enhanced with antique furniture and oil paintings, and rooms have all mod cons. There are three good restaurants, a bar and a café. One of the festival concerts takes place in the beautiful hotel conservatory, with floorto-ceiling windows overlooking the river.

Rooms with a river view and suites are available on request.

PRICES, PER PERSON

ARRIVING 6 MAY (A DAY EARLY)

Two sharing

Deluxe double/twin £4950

Single occupancy

Deluxe double for single occupancy £6090

ARRIVING 7 MAY

Two sharing

Deluxe double/twin £4520

Single occupancy

Deluxe double for single occupancy £5460

GETTING TO & FROM THE FESTIVAL

Flights with British Airways or Lufthansa from London to Munich are included in the price.

There is the option to fly out on Monday 6 May, the day before the festival begins – see pages 16–17 for accommodation prices. Please note that this is a bank holiday in the UK and that public transport may be more limited than usual.

Or you can choose to make your own arrangements for travel to and from the festival, for which there is a price reduction.

At the time of publication, flight schedules have not been released for these dates, so these are predicted schedules only. Updated flight times will be sent with the Essential Festival Information document.

FESTIVAL FLIGHT OPTIONS

ARRIVING A DAY

EARLY:

Option 1

6 May: London Heathrow to Munich (LH 2473) departing at 10.50 and arriving at 13.40.

12 May: Munich to London Heathrow (LH 2476) departing at 14.45 and arriving at 15.45.

ARRIVING ON THE FIRST DAY OF THE FESTIVAL:

Option 2

7 May: London Heathrow to Munich (BA 950) departing at 08.50 and arriving at 11.45.

12 May: Munich to London Heathrow (BA 953) departing at 16.30 and arriving at 17.30.

Option 4

7 May: London Heathrow to Munich (LH 2473) departing at 10.50 and arriving at 13.40.

12 May: Munich to London Heathrow (LH 2478) departing at 16.05 and arriving at 17.05.

Option 5

7 May: London Gatwick to Salzburg (BA 2624) departing at 09.05 and arriving at 12.00.

12 May: Salzburg to London Gatwick (BA 2625) departing at 12.00 and arriving at 13.00.

CONNECTING FLIGHTS

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

THE NO-FLIGHTS OPTION

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

Price reduction for ‘no flights’: £170.

PRE-FESTIVAL TOUR

The prices for the pre-festival tour includes the option of a return flight – out at the start of the tour, and back at the end of the festival.

All pre-festival tour participants return to the UK on festival flight option 1.

We charge for flights, if you are taking them, as part of your pre-festival tour booking. You therefore pay the ‘no flights’ price for the festival.

See opposite for full details.

Illustration: Salzburg, after a drawing by W.H. Drake, publ. 1937.

HABSBURG AUSTRIA

Pre-festival tour:

29 April–6 May 2024 (mk 258)

8 days • Lecturer: Dr Jarl Kremeier

Outstanding range of castles, abbeys, churches, houses and palaces.

Some excellent art collections.

Picturesque towns and villages, and consistently beautiful scenery.

Habsburgs first came to Austria in 1273; their departure in 1919 terminated the longest innings of any dynasty in European history. The territory over which they ruled had meanwhile expanded into a vast multi-national empire which encompassed much of central and eastern Europe which is now split between ten different countries. There was, of course, a concomitant accumulation of titles including several kingships and, for much of their time in power, the most august title of them all: Holy Roman Emperor.

This tour concentrates on the lands which are now more or less coterminous with modern Austria, a clutch of dukedoms and counties in largely mountainous terrain which were not particularly prosperous. However, proximity to the principal Habsburg seat, Vienna, meant that a high proportion of the artistic and architectural splendours of the Empire were concentrated in the Austrian lands. Only a day and a half is devoted to Vienna itself on this tour, which concentrates on the smaller towns and the architecture of the countryside.

Prominent in this category are the abbeys, some of which can boast a continuity of spiritual life since the early Middle Ages, many of them rebuilt on a most lavish scale during the Baroque age. The ruling dynasty and the aristocracy of their empire spawned a profusion of castles, country houses, town palaces and hunting lodges, and created art collections which today form the kernel of some of the best of their kind in the world.

COMBINING WITH THE FESTIVAL

6 May: transfer to Salzburg by coach. Please tick the option to arrive a day early at your chosen festival hotel.

12 May: after the festival, fly from Munich to London Heathrow, arriving at c. 3.45pm (festival flight option 1).

Flights are charged as part of your prefestival tour booking, so you take the price for the festival without flights (see pages 16–17 for festival prices).

LECTURER

Dr Jarl Kremeier. Art historian specialising in 17th- to 19th-century architecture and decorative arts; teaches Art History at the Berlin College of Acting and the Senior Student’s Department of Berlin’s Freie Universität. He studied at the Universities of Würzburg, Berlin and the Courtauld, is a contributor to the Macmillan Dictionary of Art, author of a book on the Würzburg Residenz, and of articles on Continental Baroque architecture and architectural theory.

REGISTER YOUR INTEREST

Full details for the pre-festival tour will be available in June. Please call us to register your interest, or send an e-mail to alerts@martinrandall.co.uk

Illustration:

Innsbruck, watercolour by William Callow, publ. 1908.

MAKING

A BOOKING

1. BOOKING OPTION

We recommend that you contact us first, or visit our website, to make a booking option which we will hold for seven days. 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. Full payment is required if you are booking within ten weeks of the date the festival begins.

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

By signing the Booking Form, you confirm that you have taken these tests.

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.

Photograph ©Ben Ealovega.

SALZBURG STRING QUARTET FESTIVAL 7–12 MAY 2024 (MK 262)

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

Participant 1: Participant 2:

Contact details for all correspondence:

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:

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

ACCOMMODATION OPTIONS

ARRIVAL DATE

Please tick if you would like to arrive in your hotel a day early (6 May)

HOTEL & ROOM CATEGORY

Hotel am Mirabellplatz

Standard double/twin – two sharing Standard double for single occupancy

Radisson Hotel Altstadt

Standard double/twin – two sharing Standard double for single occupancy

Hotel Bristol

Superior double/twin – two sharing Standard double for single occupancy

Hotel Goldener Hirsch

Junior Suite double/twin – two sharing

Deluxe double for single occupancy

Hotel Sacher

Deluxe double/twin – two sharing Deluxe double for single occupancy

SHARING A ROOM? Please tick one:

Double bed

Twin beds

TRAVEL OPTION

ARRIVING A DAY EARLY (6 May)

Option 1

6 May: London Heathrow–Munich

10.50–13.40 • 12 May: Munich–London Heathrow 14.45–15.45

ARRIVING ON THE FIRST DAY OF THE FESTIVAL (7 May )

Option 2

7 May: London Heathrow–Munich 08.50–11.45 • 12 May: Munich–London Heathrow 16.30–17.30

Option 4

7 May: London Heathrow–Munich 10.50–13.40 • 12 May: Munich–London Heathrow 16.05–17.05

Option 5

7 May: London Gatwick–Salzburg 11.15–14.15 • 12 May: Salzburg–London Gatwick 15.00–16.00.

THE NO-FLIGHTS OPTION

No flights

Making your own arrangements for joining and leaving the festival.

If you are also booking the pre-festival tour, please leave this section blank.

PRE-FESTIVAL TOUR

Complete to add to your booking.

Habsburg Austria

29 April–6 May 2024

Room category – tick one

Double/twin

Double for single use

Travel – tick one

Including flights. Out with the tour and back with the festival (return on festival option 1). No flights. Making your own arrangements for joining the tour and leaving the festival.

FURTHER INFORMATION

Dietary restrictions (religious, medical, vegetarian/vegan). Or requests for flight upgrades, etc.:

PASSPORT DETAILS & NEXT OF KIN

Essential for airlines and 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 (mk 262) as a reference and ask your bank to allow for all charges.

Account name: Martin Randall Travel Ltd.

Bank: Barclays, 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 10 and take the self-assessment tests described on page 20; 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 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 2024 we have planned around 185 expert-led tours for small groups (usually 10–20 participants), four music festivals of our own devising (such as the Salzburg String Quartet Festival ), 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