Music in Venice, 13–18 November 2022 by Martin Randall Travel

CELEBRATING MUSIC AND PLACE 13–18 NOVEMBER 2022

MARTIN RANDALL FESTIVALS

MARTIN RANDALL FESTIVALS bring together world-class musicians for a sequence of private concerts in Europe’s glorious historic buildings, many of which are not normally accessible. We take care of all logistics, from flights and hotels to pre-concert talks.

POLYPHONY IN PORTUGAL 22–27 MAY 2022 MUSIC IN SUFFOLK CHURCHES 4–7 JULY 2022 MUSIC ALONG THE DANUBE 22–29 AUGUST 2022 MUSIC IN VENICE 13–18 NOVEMBER 2022 UK SHORT CHAMBER MUSIC BREAKS: THE ALBION QUARTET, 4–6 MARCH 2022 THE NAVARRA STRING QUARTET, 1–3 APRIL 2022 Please contact us for more information or visit martinrandall.com/music-festivals

CONTENTS

AN INTRODUCTION TO THE FESTIVAL Discover the festival packages and location.

11.

15.

TRAVEL OPTIONS Travel to Venice with us, or make your own way.

DISCOVER THE PLACE

Venice: the most enchanting city on earth.

THE FESTIVAL PROGRAMME Details of the concerts – programme, performers and place.

12.

17. PRE- & POSTFESTIVAL

Extend your time in Italy with one of our tours.

ACCOMMODATION & PRICES A choice of six of the most comfortable hotels in Venice.

21. BOOKING

The booking form, details of our booking process, and terms and conditions.

Opposite: Venice, Interior of St Mark’s Basilica, detail from a lithograph by Samuel Prout c. 1835.

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INTRODUCTION

MUSIC IN VENICE

VENETIAN MUSIC IN VENICE This festival provides a unique opportunity to hear the authentic sound of La Serenissima. The city may be utterly enchanting to look at and its art and architecture among the finest achievements of western civilisation, but the maritime republic happens also to have been the centre of European musical life from the Renaissance to the Age of Baroque.

GABRIELI, MONTEVERDI, VIVALDI The early music revival has placed these names alongside the great names of the Classical and Romantic periods. But they were not alone: for over 200 years there were countless other composers and performers in Venice, an astonishing profusion of talent which fed the voracious appetite for spectacle and beauty that so distinguished Venetian life, both public and private.

EIGHT CONCERTS IN EIGHT VENUES

Illustration: Venice, vue d’optique, hand-coloured copper engraving c. 1774.

– all of music from Venice and the Veneto, all performed by some of the world’s leading specialists in Renaissance and Baroque music, and all in beautiful and appropriate buildings: this festival provides a truly exceptional experience which really is unique.

PERFORMERS AMONG THE FINEST IN THEIR FIELDS Monteverdi specialists La Venexiana and Vivaldi specialists Modo Antiquo will be there, as will be sopranos Roberta Mameli and Emanuela Galli. Virtuoso violinists Fabio Biondi and Giorgio Fava appear with their groups Europa Galante and Sonatori della Gioiosa Marca. Baroque specialists Il Pomo d’Oro and wind band La Piferescha have been engaged, as have the choral ensembles Odhecaton, Ricercar Ensemble Mantova and Cantori Gregoriani. Note they are nearly all Italian; none of the 150 musicians need board a plane to take part in the festival.

INSIGHT INTO THE MUSIC Every day at 10.00am there is a talk about music by Professor John Bryan – emeritus professor of Music at the University of Huddersfield, and a practising musician with the Rose Consort of Viols. He founded the North East Early Music Forum, is an artistic adviser to York Early Music Festival and chair of the Viola da Gamba Society. He has been the speaker on many Martin Randall Festivals.

INTRODUCTION

THE FESTIVAL PACKAGE

OPTIONAL EXTRAS

The price includes:

— c hoice of pre- and postfestival tours (see pages 17–20)

— all eight performances — arriving a day early (see pages 12–15) — daily talks on the music — a ccommodation for five nights – choose from six hotels (see pages 12–14) — r eturn flights between London and Venice – reduced price if you arrange your own transport (see page 15)

— p ackage of two extra dinners (see page 9) — s election of walks and visits in the company of an art historian or local guide (see page 9)

THE CONCERTS ARE PRIVATE, being exclusive to participants who take a package which includes accommodation, flights from London, airport transfers, lectures, dinners, interval drinks and much else besides. OPTIONAL EXTRAS include walks and visits led by art historians and handpicked guides; pre- or postfestival tours; and a dinner package which means you don’t have to forage for yourself or dine on your own. ARRIVE EARLY. We are offering the option of arriving in Venice a day before the festival begins. Take one of our festival flight options from London and be escorted to your hotel by motoscafo, or make your own way independently – see pages 12–15.

—b reakfasts, three dinners and pre-concert drinks —w ater taxis (motoscaf i) between airport and hotels, and unlimited free use of the vaporetti (water buses) — tips, taxes and obligatory charges — detailed programme booklet — a ssistance of a team of Italian-speaking festival staff

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THE FESTIVAL PROGRAMME

CONCERTS

Concert 1 Chiara’s Diary

Concert 2 Cavalli’s Requiem

Fabio Biondi violin Europa Galante Palazzo Pisani, Conservatorio di Benedetto Marcello

Il Pomo d’Oro Giuseppe Maletto director Scuola Grande di San Rocco

Fabio Biondi is one of the world’s great violin virtuosi specialising in earlier repertoire. The group he directs here, Europa Galante, was a pioneer when he founded it in 1989, a time when period instruments and historically informed performance was an almost exclusively north-European thing. Europa Galante rapidly became acknowledged as one of the world’s most vibrant and sensitive of such ensembles. Their programme is a remarkable monument to the unique musical accomplishments of Venetian orphanages. In 1718, at the age of two months, Chiara was abandoned at the door of the Ospedale della Pietà. There she flourished and became a famous violinist, even though she never left the institution and died there in 1791. The ‘Diary’ is an anthology of her favourite works by composers who taught at the Pietà including Vivaldi, Porpora, Martinelli and Bernasconi. Some of these concertos are dedicated to her.

Francesco Cavalli’s Missa pro Defunctis (Requiem Mass) is one of the highlights of Venetian 17th-century liturgical music, not infrequently performed in mainland Europe but for some reason rarely in Britain. It is performed here with a choir of 16 and continuo, and features a variety of exquisite instrumental sonatas, delectable solo motets and spectacular polychoral masterpieces. Pieces by Giovanni Gabrieli and Claudio Monteverdi are inserted for extra variety and splendour.

The ensemble il Pomo d’Oro, founded in 2012, is characterised by an authentic, dynamic and deeply felt interpretation of operas and instrumental works from the Baroque and Classical periods. The musicians are all well-known specialists and are among the best in the field of historical performance practice. Regular guests in prestigious concert halls and festivals all over Europe, they have also made several recordings, particularly of The location is the great hall of La Scuola Grande di San Rocco, the most magnificent operas by Handel, Stradella and Vinci, and concertos by Bach and Haydn. of all confraternity premises, the walls and ceiling being adorned by a magnificent

That they can be performed again is due to a thirty-year research project which reconciled thousands of loose separated pages in the Pietà archive. This is now in the conservatory which occupies the Palazzo Pisani Santo Stefano adjacent to the Accademia Bridge – where this concert takes place. One of the largest of patrician palaces in Venice and the property of one of the richest families, its principal building phases were the early 17th and the mid 18th centuries. The ballroom is now used as a concert hall. 6

cycle of highly-charged canvasses by Tintoretto. In combination with the carved and gilded woodwork, this creates one of the most lavish interiors in Venice. The sombre spirit and religiosity of the hall matches the music.

THE FESTIVAL PROGRAMME

Concert 3 Barbara Strozzi Songs

Roberta Mameli soprano Il Pomo d’Oro Francesco Corti director Ca’ Sagredo

More about the concerts Private occasions: all the performances are planned and administered by Martin Randall Festivals exclusively for those who have bought the festival package. There are two every day except the travelling days, one daytime and one in the evening.

The extraordinary composer-performer Barbara Strozzi (1619–77) published eight collections of works. She studied with Cavalli, who had studied with Monteverdi. A selection of secular music by all three composers recreates the atmosphere of the Venetian soirées at which Strozzi unveiled her sophisticated union of poetry and harmony.

Daytime concerts are in smaller halls so the audience is split and the concert repeated. Participants will be pre-assigned to either the morning or the afternoon performance. Evening concerts are before dinner on three occasions (6.00pm) and after dinner once (8.45pm).

Soprano Roberta Mameli is one of the finest sopranos in the Baroque repertoire and enjoys a very busy opera and concert schedule in Italy and abroad. She possesses an exceptionally crystalline and diaphanous voice, and her head and heart work together to achieve enthralling acting and interpretation. Founded in 2012, Il Pomo d’Oro is characterised by its authentic, dynamic interpretation of operas and instrumental works from the Baroque and Classical periods. The musicians are all well-known specialists and are among the best in the field of historical performance practice. They made a Strozzi recording on the occasion of her 400th birthday.

The duration of will be between 50 and 70 minutes, with Monteverdi’s Vespers lasting two hours. None has an interval, though refreshments will be available at the venue before some of the concerts. Seating. Specific seats are not reserved. You sit where you want.

Illustration, opposite: La Scuola Grande di San Rocco, lithograph c. 1830.

Comfort. Seating in churches is likely to be on pews. In a couple of venues heating is inadequate; expect to wear coat and gloves during those concerts. 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. The noise of passing water vessels is a feature in a couple of venues.

Situated on the Grand Canal, the Ca’ Sagredo dates largely to the first half of the 18th century. A Baroque stairway leads to a sequence of frescoed halls – one with a ceiling by Giambattista Tiepolo – and culminates in the ballroom, glorious if endearingly past its prime in a quintessentially Venetian way.

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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. 7

THE FESTIVAL PROGRAMME

CONCERTS

Concert 4 Piety and Pageantry

Concert 5 Sussuri d’amore

Odhecaton La Pifarescha Paolo Da Col director La Madonna dell’Orto

Emanuela Galli soprano Carlotta Colombo soprano La Venexiana Gabriele Palomba theorbo and direction Ca’ Zenobio

A choral ensemble and a wind band combine for a concert which alternates between sacred vocal works and secular instrumental pieces, confronting the spiritual with the celebratory as was standard on great occasions in Renaissance Venice. The principal composers in the programme are Andrea Gabrieli (c. 1533– 85) and his nephew Giovanni (c. 1555– 1612), the preeminent musical figures of their time. There is little to match the suffusion of polyphony through a resonant church and nothing quite like the noble sonority of sackbuts and cornetts. Founded in 1998 and directed by Paolo Da Col, Odhecaton takes its name from the first printed book of polyphony, published in Venice in 1501. The ensemble brings together some of the best Italian male voices specialising in Renaissance and Baroque repertoire. Their programmes and recordings embrace Franco-Flemish and Iberian as well as Italian Renaissance masters, and they also perform Baroque and contemporary works. The have appeared in Europe’s leading festivals and their recordings have garnered many awards.

‘Whispers of love on the canals of Venice’ doesn’t quite capture the sensuous beauty of ‘Sussuri d’amore nella laguna di Venezia’, so we have stayed with the original language for the title. Two sopranos and three instrumentalists, all regulars with La Venexiana (see Concert 8), present this alluring programme of amorous songs by Claudio Monteverdi, Tarquinio Merula, Giovanni Felice Sances and Barbara Strozzi. The Baroque ballroom of the Ca’ Zenobio is one of Venice’s hidden jewels, a joyous confection of fresco, stucco and mirrors. Europe, to the noble consort of cornetts Built in 1690 and decorated over the next and sackbuts, which flourished into the few decades, the melancholy canalside early Baroque. In 2020 the ensemble was palace is located towards the southern awarded first prize in the International edge of the Dorsoduro. Since 1850 it has Classical Music Awards (ICMA) Early Music been in the hands of the Armenian Church. category, for the CD ‘Willaert e la Scuola Fiamminga a San Marco’.

The voluminous monastic church of Madonna dell’Orto dates largely to the 15th century and takes its name from the orchards that used to be here on the less populated northern fringe of Cannaregio. It belongs to the last phase of Venetian Gothic, built of brick with stone dressings La Pifarescha is internationally recognized and timber roofs, but is best known for the as one of today’s leading protagonists of many paintings by Tintoretto, late of this early wind music. The ensemble explores parish. Restoration of the church was one the entire spectrum, from the alta cappella, of the major projects undertaken by the a configuration of wind and percussion Venice in Peril Fund. instruments that was immensely popular throughout medieval and Renaissance

Illustration: ‘A Quiet Rio’, watercolour by Mortimer Menpes, publ. 1904.

THE FESTIVAL PROGRAMME

Concert 6 Vivaldi’s Last Vespers

Modo Antiquo Ricercar Ensemble Mantova Federico Maria Sardelli director Church of the Pietà

Optional walks and visits

Vivaldi’s farewell to Venice, this great work was performed in the Church of the Pietà on 14th April 1739 shortly before the composer left for Vienna. He had high hopes of fame and fortune in the service of the emperor, but in this he failed and he died a pauper two years later; musical tastes had moved on. After years of research, Federico Sardelli has managed to piece together this musically magnificent but previously unknown Vespers; only one number had to be substituted by an earlier version. The unprecedented juxtaposition of Vivaldi’s and Monteverdi’s settings of vespers on successive days will enable you to judge how the one stands up against the other.

Vivaldi has always been central to Modo Antiquo’s activities, and Sardelli, its dynamic founder-director, is also Italy’s leading Vivaldi scholar. He has provided the modern world premières of several works by the composer unearthed in European archives, written a monograph on his music for flute and is in charge of the monumental undertaking of assembling a complete list of Vivaldi’s works for the revised Ryom (RV) catalogue.

In the 30 years since its formation, and over 30 award-winning recordings later, period-instrument orchestra Modo Antiquo has established a worldwide reputation for the scholarship and fiery brilliance of their performances of Baroque and earlier music. They are joined for this performance by Ricercar Ensemble Mantova, a Mantua-based chamber choir founded in 1984 and one of Italy’s finest vocal groups. This concert has nearly 50 performers in total.

The Church of the Pietà, attached to the orphanage where Vivaldi spent most of his career as a violin teacher, is not the building he knew: it was rebuilt shortly after he left Venice. But it is a glorious space, well suited to the performance of Baroque music. It is located on the waterfront across the Canale di San Marco from San Giorgio Maggiore, and was designed in Neo-Palladian style by Giorgio Massari, the leading architect of the time in the Veneto.

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Dr Michael Douglas-Scott is an art historian specialising in the Italian Renaissance. He studied at the Courtauld Institute of Art and Birkbeck College, both University of London, taught at Birkbeck and for American universities and has been published in learned journals. A perennial favourite among Martin Randall Travel clients, he has led many tours in Italy and presented webinars. Dr Susan Steer is an art historian specialising in Venice – she has lived in the city and nearby for 25 years. She has extensive experience of teaching the History of Art in the UK and Italy, recently for Warwick University, and is also qualified as a local guide. Full information about walks and visits, with prices, will be sent to all those booked at a later stage.

Extra dinners You can choose to join two extra dinners on 14th and 16th November. This ensures that you eat in the company of other festival participants on all evenings. Details and prices will be sent to all those booked at a later stage.

THE FESTIVAL PROGRAMME

CONCERTS

Concert 7 Venetian Dances

Concert 8 Monteverdi’s 1610 Vespers

A qualification needs to be entered: ‘Venetian’ here is an elastic term, for it was composed while Monteverdi was still in the service of the Duke of Mantua and he only moved to Venice three years later. But it was printed in Venice in 1610 and may have been composed with La Serenissima in mind, perhaps as a surrepticious job application. And Venice became the place where the composer stayed the longest; he died there 36 later.

Sonatori della Gioiosa Marca Ateneo Veneto In the 17th and 18th centuries, dance music was the meeting point of popular music and art music, and the place of exchange between the two. It ran like an underground river through all genres – church, chamber, opera – and its tight phrasing, simple themes and rhythmic nature bubble up into all manner of compositions. And then there is dance music itself, the balli Veneziani of the title. This programme includes pieces by the 17th-century composers Tarquinio Merula, Giovanni Picchi and Biagio Marini and their 18th-century successors Antonio Caldara, Giovanni Reali and Antonio Vivaldi. The Sonatori de la Gioiosa Marca was founded in Treviso in 1983 by half a dozen young pioneers of period instrument playing. The name means ‘Musicians of the joyous Marches’, Treviso being situated in the borderlands of the Venetian Republic since the 15th century and awarded the sobriquet Marca Gioiosa et Amorosa. Most of the founders are still with the group, and they haven’t lost the skilled and spirited ensemble playing that has led to nearly 40 highly successful years. They have brought to light innumerable pieces by composers from the Veneto which had never been performed in modern times before. Of their ample discography, the most recent won the ICMA Award 2020 in the category Baroque instrumental music. The Ateneo Veneto was built in the 1590s as the Scuola di San Fantin. Since the confraternity’s dissolution in 1806, the building has become the seat of various cultural societies. The main hall is decorated with elaborate woodwork and paintings (Veronese, Palma Il Giovane). 10

The 1610 Vespers is both a landmark and a fulcrum, embodying the traditional liturgical style, the prima pratica, and the new style which emerged in tandem with opera, the seconda pratica. A virtuoso collection of 13 movements – motets, psalms and Magnif icat – this performance adds plainchant antiphons, taking it beyond the usual concert-hall format into another realm of spiritual and artistic experience.

La Venexiana, Gabriele Palomba director I Cantori Gregoriani, Fulvio Rampi director Basilica di Santa Maria Gloriosa dei Frari

The Franciscan church of I Frari is one of the largest in Venice, and the one best endowed with works of art of the Renaissance and Neo-Classical eras. It is a particularly suitable location for these Marian vespers because the church is dedicated to the Virgin Mary, and because Titian’s great Assumption will form a sublime backdrop to the performance.

Our closing concert presents what is arguably the finest achievement of Venetian liturgical music in one of the most magnificent churches in Venice: Claudio Monteverdi’s Vespro della Beata Vergine of 1610 in the Basilica di Santa Maria Gloriosa dei Frari. Illustration: Titian’s ‘Madonna di Ca’ Pesaro’, in the Church of the Frari, Venice, engraving 1887.

THE PLACE

DISCOVER VENICE: THE WORLD’S MOST BEAUTIFUL CITY

For the world’s most beautiful city, Venice had an inauspicious start. The site was once merely a collection of mudbanks, and the first settlers came as refugees fleeing the barbarian destroyers of the Roman Empire. They sought to escape to terrain so inhospitable that no foe would follow. The success of the community that arose on the site would have been beyond the wildest imaginings of the first Venetians. By the end of the Middle Ages Venice had become the leading maritime power in the Mediterranean and possibly the wealthiest city in Europe. The shallow waters of the lagoon had indeed kept it safe from malign incursions and it kept its independence until the end of the 18th century. ‘Once did she hold the gorgeous East in fee, and was the safeguard of the West, Venice, eldest child of liberty.’

Trade with the East was the source of that wealth and power, and the eastern connection has left its indelible stamp upon Venetian art and architecture. Western styles are here tempered by a richness of effect and delicacy of pattern which is redolent of oriental opulence. It is above all by its colour that Venetian painting is distinguished. And whether sonorous or poetic, from Bellini through Titian to Tiepolo, there remain echoes of the transcendental splendour of the Byzantine mosaics of St Mark’s. That Venice survives so comprehensively from the days of its greatness, so little ruffled by modern intrusions, would suffice to make it the goal of everyone who is curious about the man-made world. Thoroughfares being water and cars nonexistent, the imagination traverses the centuries with ease.

Illustration: Etching c. 1930 by Antoine Gaymard after a painting by J.M.W. Turner.

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ACCOMMODATION & PRICES

We have selected six hotels for this festival. All are 4- or 5-star. The hotel is the sole determinant of the different prices for the festival package. There is also the option of arriving at your festival hotel a day early (12th November).

Notes on hotels WiFi. Complimentary at all hotels. Quiet? Though blessedly free of the sound of vehicular traffic, motor boats and street life mean that few hotels can be guaranteed to be absolutely quiet. Rooms vary. As is inevitable in historic buildings, rooms vary in size and outlook. Suites and rooms with views. Some hotels have suites and rooms with views of the Grand Canal. All are subject to availability at the time of booking. For some, prices are only available on request. Photograph ©Ben Ealovega, 12

ACCOMMODATION & PRICES

All prices are per person. Price without flights: subtract £140.

HOTEL BONVECCHIATI (4*)

SPLENDID VENICE (4*)

PALAZZO SANT’ANGELO (4*)

A well-located and comfortable 4-star hotel close to Piazza San Marco. Rooms vary in size although the room category we offer avoids the smaller rooms in the hotel. Rooms are decorated in a mix of classic Venetian and contemporary styles. All have baths with shower attachments. Public areas are comfortable even if the décor is a little dated. There is a restaurant and hotel staff are friendly and helpful. Proximity to San Marco is an advantage however the concomitant of the central location is the possibility of noise in the morning from goods delivery boats on the side canals.

A delightful hotel situated between Piazza San Marco and the Rialto bridge. Despite the central location the hotel is quiet, with rooms overlooking side canals or an internal courtyard. Public areas include a good restaurant, bar and lounge, library and roof terrace. Bedrooms are light, well-appointed and decorated in a contemporary style. The majority have a bath with shower fitment, though a small number have a stand-alone shower.

The smallest hotel on the festival with just 26 rooms, the Palazzo Sant’Angelo has a warm and personal atmosphere and will exclusively accommodate our group (if all rooms fill). It is well located on the Grand Canal near the Campo Sant’Angelo, less than one minute from the Sant’Angelo vaporetto stop. Rooms are richly decorated in a classic Venetian style, and have views of the canal or hotel courtyard and garden. Bathrooms have sizeable jacuzzi-style bathtubs with an overhead shower fitment. Public areas include a small bar and lounge but no restaurant.

PRICES, per person

Although the hotel has its own mooring point, water taxis are not always able to arrive at the door during particularly severe acqua alta (high tide) as they cannot pass under the nearby bridges. Hotel and festival staff will be present to assist if we encounter difficulties.

Two sharing

starhotelscollezione.com

hotelbonvecchiati.it

sinahotels.com PRICES, per person Two sharing

Superior room £3,110 Or if arriving a day early £3,260 PRICES, per person Single occupancy

Two sharing

Deluxe room £3,960 Or if arriving a day early £4,230 Junior Suite £4,070 Or if arriving a day early £4,380

Junior Suite with Deluxe double £3,620 Superior double for sole use £3,500 Grand Canal view £4,710 Or if arriving a day early £3,860 Or if arriving a day early £3,730 Or if arriving a day early £5,120 Deluxe Suite with Grand Canal view £4,860 Superior double for sole use £3,970 Or if arriving a day early £5,320 Or if arriving a day early £4,260 Single occupancy

Single occupancy Classic double for sole use £4,320 Or if arriving a day early £4,660 Deluxe double for sole use £4,630 Or if arriving a day early £5,030

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ACCOMMODATION & PRICES

HOTEL LUNA BAGLIONI (5*)

ST REGIS (5*)

HOTEL GRITTI PALACE (5*)

A luxurious hotel that manages to combine Venetian splendour with warm and friendly service. The location is excellent, minutes away from Piazza San Marco and the Royal Gardens but removed from the main thoroughfare. Rooms are spacious and richly furnished in a classic Venetian style; the marble bathrooms are equipped with a bathtub with shower fitment. Public areas are again opulent and attractive, and the restaurant is excellent. Rooms with lagoon or side canal views, or suites, are available on request.

A historic and elegant 5-star hotel positioned at the mouth of the Grand Canal (previously Hotel Europa & Regina). It is maintained to a very high standard and has a good restaurant with magnificent views of Santa Maria della Salute directly opposite. Rooms are elegantly furnished and decorated in a classic style. The hotel occupies two palaces so rooms are accessed via two separate lifts. The hotel has recently undergone extensive renovation works.

The most venerable hotel in Venice situated at the mouth of the Grand Canal just opposite the Basilica Santa Maria della Salute. Occupying the elegant Gothic palace of a 15th-century doge, the style is one of restrained luxury, and with excellent, discreet service. Sensitive restoration has retained its Venetian character; rooms and public areas are sumptuously decorated with Rubelli fabrics, Murano chandeliers and antique furniture. There is a bar, lounge and two restaurants with a terrace area.

marriott.co.uk/st_regis/venice baglionihotels.com

Suites are available on request. PRICES, per person

PRICES, per person

grittipalacevenice.com Two sharing

Two sharing

Deluxe room £4,410 Deluxe room £4,110 Or if arriving a day early £4,740 Or if arriving a day early £4,420 Luxury room with Grand Canal view £5,140 Single occupancy Or if arriving a day early £5,650

PRICES, per person Two sharing Deluxe room £5,220 Or if arriving a day early £5,730

Superior double for sole use £4,600 Landmark room with Or if arriving a day early £5,030 Single occupancy Grand Canal view £6,150 Deluxe double for sole use £5,230 Or if arriving a day early £6,930 Or if arriving a day early £5,720 Single occupancy Deluxe double for sole use £6,530 Or if arriving a day early £7,300

TRAVEL OPTIONS

TRAVEL OPTIONS JOINING & LEAVING THE FESTIVAL

Flights with British Airways from London Heathrow to Venice Marco Polo are included in the price. There is also the option to fly out on Saturday 12th November, the day before the festival begins – see the previous pages for accommodation prices. Or you can choose to make your own arrangements for travel to and from the festival, for which there is a price reduction.

Illustration: San Giorgio Maggiore, French engraving c. 1750.

ARRIVE A DAY EARLY

THE NO-FLIGHTS OPTION

Option 1 12th November: depart London Heathrow 08.40, arrive Venice at 12.00 (BA 578). 18th November: depart Venice 09.15, arrive London Heathrow at 10.50 (BA 583).

You can choose not to take any of our flights and to make your own arrangements for joining and leaving the festival.

Option 2 12th November: depart London Heathrow 13.20, arrive Venice at 16.40 (BA 596). 18th November: depart Venice 13.05, arrive London Heathrow at 14.40 (BA 579). Option 3 12th November: depart London Heathrow 17.20, arrive Venice at 20.40 (BA 582). 18th November: depart Venice 17.45, arrive London Heathrow at 19.20 (BA 597).

ARRIVE ON THE FIRST DAY OF THE FESTIVAL Option 4 13th November: depart London Heathrow 08.55, arrive Venice at 12.15 (BA 578). 18th November: depart Venice 09.15, arrive London Heathrow at 10.50 (BA 583). Option 5 13th November: depart London Heathrow 13.05, arrive Venice at 16.20 (BA 594). 18th November: depart Venice 13.05, arrive London Heathrow at 14.40 (BA 579).

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Should you decide to join the festival at Venice Marco Polo Airport at a time which coincides with our flight arrivals, you are welcome to join one of our water-taxi transfers to your hotel. Price reduction for ‘no flights’: £140.

RAIL TRAVEL London – Paris – Turin – Venice : 14–18 hours. Contact us for more information.

PRE- & POST-FESTIVAL TOURS You do not need to choose a f light option if you choose to book one of these tours. When combined with the festival, they have their own separate arrangements – details can be found in the itineraries on pages 17–20. We charge for return flights (if you are taking them) as part of the tour booking – therefore you pay the ‘no flights’ price for the festival.

PRACTICALITIES

FITNESS FOR THE FESTIVAL

WHY NOVEMBER?

We must stress that it is essential to cope with the walking and stair-climbing required to get to the concerts and other events. The hotels we have chosen are situated in the San Marco district, whereas some of the concert venues are on the other side of the Grand Canal in the San Polo district.

November is relatively low season in Venice. Fewer visitors and cruise ships make it much easier to get around and to visit places for which congestion is standard for much of the year.

Venice covers a large area. There are the steps of numerous bridges to negotiate. Water taxis are not always an option. You should be able to walk unaided for at least 30 minutes and to be able to get on and off (sometimes pitching) water buses and taxis. We ask that you take the simple fitness tests on the booking form 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. Pre- and post-festival tours: mainly, we travel on foot; the nature of Venice and Florence makes no other mode feasible. So there is a lot of walking along the flat, and also up and down bridges. Standing around in museums and churches is also unavoidable. Fitness is essential.

Temperatures can be mild and blue skies can be expected at least for part of the time, though rain is likely. Important for the festival is that at this end of winter unheated buildings retain some trace of their summer warmth. November is the peak month for acqua alta: the rise in water levels is such that some areas are inundated. This flooding is related to tides and therefore lasts only for a few hours, but we strongly recommend that you bring waterproof footwear such as full-length wellington boots. Floods of 2–3 feet or more above street level are very rare, and anyway we have chosen dates when the pull of the moon will be least. The new ‘Mose’ flood gates are now in use. They can isolate the Venetian Lagoon from the Adriatic Sea during exceptionally high water and prevent some of the lowlying parts of the city (in particular Piazza San Marco) from being flooded.

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. Though this is a large event, you will often find yourself in smaller groups – the audience is divided between six hotels, and into different restaurants for some of the dinners. For those who are not averse to group activities there are extra meals, walks 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.

Illustration: Campo San Giacomo and the Rialto Bridge, 18th-century engraving.

PRE- & POST- FESTIVAL TOURS

THE STORY OF VENICE

Pre-festival tour: 7–12 November 2022 (mi 556) 6 days • £2,610 Speaker: Dr Susan Steer The varied joys of Venice, led by an art historian and one-time resident.

great churches, S. Giorgio Maggiore and Il Redentore.

Little visited quarters as well as better known, history as well as art, present as well as past.

Day 4: San Polo, Dorsoduro. San Polo is the location of Sta. Maria Gloriosa dei Frari and the Scuola Grande di San Rocco. The first is the great Franciscan church Includes a private after-hours visit to which houses artworks such as Titian’s St Mark’s to see the splendid mosaics Assumption and Canova’s tomb; the second illuminated. is adorned with a magnificent cycle of dramatic paintings by Tintoretto. Two palaces on the Grand Canal provide very ITINERARY different experiences – the museum of the 18th century in the Ca’ Rezzonico and the Day 1. Fly at c. 1.15pm (British Airways) Peggy Guggenheim collection of 20thfrom London Heathrow to Venice. A motoscafo (water-taxi) takes you across the century art. lagoon to your hotel. Day 5: Castello, Canareggio. An Early Renaisssance morning. The church of San Day 2: San Marco. An introductory walk around the incomparable Piazza San Marco Zaccaria is the architectural masterpiece of the era and houses an outstanding is followed by the Doge’s Palace, beautiful in its pink Gothic revetment and containing altarpiece by Bellini, while the Scuola di San Giorgio degli Schiavoni houses the rich Renaissance interiors. In the wonderfully engaging cycle of paintings by afternoon, see the palazzi on the Grand Carpaccio. To the sestiere of Cannaregio in Canal from the viewpoint of a gondola. In the afternoon to explore the centuries-old the evening there is an after-hours visit presence and impact of Judaism in Venice, to the Basilica di San Marco where the with a tour of the Jewish Ghetto and its mosaic-encrusted interior is illuminated synagogues. exclusively for your benefit. Day 3: Dorsoduro, Giudecca. Start with a visit to Sta. Maria della Salute, the splendid Baroque church at the mouth of the Grand Canal, built in thanksgiving for deliverance from the 1630 plague. The Accademia is the major art gallery in Venice, where all the Venetian painters are represented. The afternoon is spent on the Giudecca, the southernmost and most tranquil of the islands. Here and on the neighbouring island of San Giorgio are Palladio’s two

Day 6. Stay overnight in your chosen festival hotel, joining the festival the following morning (13th November). (Those not joining the festival travel by motoscafo to Venice airport and fly to London Heathrow, arriving c. 2.30pm).

SPEAKER Dr Susan Steer. See page 9.

PRACTICALITIES Price, per person. Two sharing: £2,610 or £2,490 without flights. Single occupancy: £3,050 or £2,930 without flights. If combining with the festival, add the price of arriving a day early on the festival (see pages 12–14). Included: flights (Euro Traveller) with British Airways (Airbus 320); vaporetto (water-bus) pass; airport transfers by water-taxi; luggage porterage between hotel and airport; hotel accommodation; breakfasts and 3 dinners with wine; all admissions; all tips; all taxes; the services of the lecturer and tour manager. Accommodation. Hotel Splendid, Venice (starhotels.com): 4-star hotel between Piazza San Marco and the Rialto bridge. Group size: between 8 and 18 participants.

Illustration: Balcony of St Mark’s Basilica, wood engraving c. 1880.

Friday 18th November, final day of the festival. Fly from Venice to London Heathrow, arriving c. 9.05pm.

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PRE- & POST- FESTIVAL TOURS

VENETIAN PALACES Pre-festival tour: 8–12 November 2022 (mi 567) 5 days • £2,690 Lecturer: Dr Michael Douglas-Scott

Explores many of the finest and bestpreserved palaces, once homes to the wealthiest nobles and merchants in Venice (some of which are still in private hands). Access is mainly by special arrangement. Also, a private after-hours visit to St Mark’s Basilica. Stay in a 4-star hotel on the Grand Canal.

ITINERARY Day 1. Fly at c. 1.00pm (British Airways), London Heathrow to Venice. Cross the lagoon by motoscafo (water-taxi) and travel up the Grand Canal to the doors of the hotel. Luggage is transported separately by porters. Dinner in the privately owned 16th-century Palazzo Corner Gheltoff Alverà (by special arrangement). Day 2. See the palazzi on the Grand Canal from the viewpoint of a gondola. The former Casino Venier is a uniquely Venetian establishment that was part private members’ bar, part literary salon, part brothel (by special arrangement). Designed by Longhena (c. 1667) and Giorgio Massari (c. 1751), the Ca’ Rezzonico is perhaps the most magnificent of Grand Canal palaces, and contains frescoes by Tiepolo; it is now a museum of 18th-century art. Visit the grand ballroom of late 17th-century Palazzo Zenobio (by special arrangement). Day 3. Visit the Palazzo Ducale, supremely beautiful with its 14th-century pink and white revetment, late Renaissance gilded halls and paintings by Tintoretto and Veronese. The Palazzo Grimani at Santa

Maria Formosa became in the mid-16th SPEAKER century the purpose-built site of the family collection of antiquities, which were then Dr Michael Douglas-Scott. See page 9. bequeathed to the Venetian Republic. There is an after-hours private visit to the PRACTICALITIES Basilica di San Marco where the mosaicencrusted interior is illuminated exclusively Price, per person. Two sharing: £2,690 or for your benefit. £2,570 without flights. Single occupancy: £3,040 or £2,920 without flights. Day 4. With its elegant tracery and abundant ornamentation, the Ca’ d’Oro, If combining with the festival, add the price also on the Grand Canal, is the most of arriving a day early on the festival (see gorgeous of Venetian Gothic palaces; it pages 12–14). now houses the Galleria Franchetti. The 13th-century Fondaco dei Turchi is a Included: flights (Euro Traveller) with unique survival from the era; today it is the British Airways (Airbus 320); vaporetto natural history museum. In the afternoon (water-bus) pass; airport transfers by visit a privately owned palace, the Palazzo water-taxi; luggage porterage between Contarini dal Zaffo-Polignac (by special hotel and airport; hotel accommodation; arrangement). breakfasts; 3 dinners with wine; Day 5. Visit the privately owned 17thcentury Palazzo Albrizzi which has some of the finest stucco decoration in Venice (by special arrangement). Stay overnight in your chosen festival hotel, joining the festival the following morning (13th November). (Those not joining the festival travel by motoscafo to Venice airport and fly to London Heathrow, arriving c. 7.15pm). Friday 18th November, final day of the festival. Fly from Venice to London Heathrow, arriving c. 9.05pm. The tour is dependent on the kindness of many individuals and organisations, some of whom are reluctant to make arrangements far in advance, so the order of visits may change and there may be substitutions for some palaces mentioned.

admissions; tips; taxes; the services of the lecturer, tour manager and local guide. Accommodation. Hotel Palazzo Sant’Angelo, Venice (palazzosantangelo. com): 4-star hotel on the Grand Canal. Group size: 8–18 participants.

Illustration: Ca’ d’Oro, engraving 1835.

PRE- & POST- FESTIVAL TOURS

VENICE REVISITED Post-festival tour: 21–26 November 2022 (mi 573) 6 days • £2,830 Lecturer: Dr Susan Steer

Explores treasures which are lesserknown, rarely accessible or simply off the beaten track. Access to many is by special arrangement; some are still in private hands. Also an after-hours visit to the Basilica di San Marco. Includes visits to the islands of Murano, San Lazzaro degli Armeni and Lazzarretto Nuovo.

ITINERARY Saturday 12th November, or Sunday 13th November. Fly to Venice on the festival flight option of your choice (see page 15). Day 1. Non-festival participants fly at c. 12.30pm, London Gatwick to Venice (British Airways) and transfer to the hotel by motoscafo. Day 2. The morning walk looks at the identity and social make-up of the Castello sestiere. See two of the orphanages renowned as centres of musical excellence, the Ospedaletto and its church of Sta. Maria dei Derelitti, and the Pietà, where Vivaldi was director of music. Outstanding Renaissance paintings are seen in San Giovanni in Bragora (Cima da Conegliano’s Baptism) and in the Scuola di S. Giorgio degli Schiavoni (Carpaccio’s stories of saints). In the supremely beautiful Palazzo Ducale visit areas only seen by special arrangement where prison cells rub shoulders with the Doge’s apartments. Day 3. Head off the beaten track for a guided tour of the Ghetto and its synagogues, around the markets and former trading houses of the Rialto district, and Cannaregio, a tranquil area

of the city little known to visitors. Cross to the glass-making island of Murano by private motoscafo to see SS. Maria e Donato, with 12th-century mosaics and pavement, and S. Pietro Martire, with paintings by Bellini and Tintoretto. Afterhours visit to the Basilica di San Marco where the mosaic-encrusted interior is illuminated exclusively for your benefit. Day 4. Visit the great Franciscan church of Sta. Maria Gloriosa dei Frari with outstanding artworks including Titian’s Assumption. The Venetian State Archives are the repository of a millennium of history, stored on some 60km of shelving (special arrangement). The afternoon is dedicated to Venice’s confraternities: the Scuola Grande dei Carmini with paintings by Tiepolo and the Scuola Grande di S. Rocco, with compelling paintings by Tintoretto. Day 5. Cross the bacino to the island of San Giorgio Maggiore to see the church, cloisters and conventual buildings of the Benedictine monastery. Here is the Fondazione Giorgio Cini, an impressive cultural centre. Continue to tranquil Giudecca to see Palladio’s most sophisticated church, Il Redentore. Free afternoon. In the evening visit Palazzo Albrizzi, with some of the finest stucco decoration in Venice (special arrangement). Day 6. Head in the direction of the Lido by motoscafo to visit San Lazzaro, the Armenian monastery island and temporary residence of Lord Byron. Continue to Lazzaretto Nuovo, originally a Benedictine monastery which became a quarantine station for maritime travellers. Motoscafo to Venice airport; fly to London Gatwick, arriving c. 6.30pm. WWW.MARTINRANDALL.COM

The tour is dependent on the kindness of many individuals and organisations, some of whom are reluctant to make arrangements far in advance, so the order of visits may change and there may be substitutions for some palaces mentioned.

SPEAKER Dr Susan Steer. See page 9.

PRACTICALITIES Price, per person. Two sharing: £2,830 or £2,710 without flights. Single occupancy: £3,270 or £3,150 without flights. Please contact us to discuss your flight requirements and also accommodation preference for the three nights between the festival and the tour. We can then provide you with a quote. Included: flights (Euro Traveller) with British Airways (Airbus 319); vaporetto (water-bus) pass; airport transfers by water-taxi; luggage porterage between hotel and airport; hotel accommodation; breakfasts; 3 dinners with wine; admissions; tips; taxes; the services of the lecturer and tour manager. Accommodation. Hotel Splendid, Venice (starhotels.com): 4-star hotel between Piazza San Marco and the Rialto bridge. Group size: 10 –18 participants.

Illustration: After a drawing by Joseph Pennell, publ. 1897.

PRE- & POST- FESTIVAL TOURS

FLORENCE REVISITED Post-festival tour: 21–27 November 2022 (mi 575) 7 days • £2,740 Lecturer: Dr Michael Douglas-Scott

Designed for those already familiar with the main sites, concentrating on places privately owned or not easy to access.

Day 3. The morning starts with a selective tour of the Uffizi, Italy’s most important art gallery, which has masterpieces by every major Florentine painter as well as A medley of pleasures, from medieval to international Old Masters. Walk through modern, pursuing a number of key themes. the Vasari Corridor from the Uffizi to the Pitti Palace, viewing the Medici collection Some visits to places outside Florence of artists’ self-portraits. In the afternoon – Fiesole, Poggio a Caiano, Carmignano, there is a private visit to parts of the Artimino, Galluzzo. redoubtable Palazzo Pitti not usually open to the public. The B list? An A list by the standards of nearly everywhere else in the world. Day 4. The Last Supper by Andrea del Sarto at San Salvi is the greatest 16thcentury picture in Florence. Visit the Badia ITINERARY Fiesolana near Fiesole, a 15th-century church with a Romanesque façade. In Saturday 12th November, or Sunday 13th Fiesole visit the cathedral and Roman November. Fly to Venice on the festival theatre; also the Villa Medici, the first of flight option of your choice (see page 15). its genre to provide a stunning view over Florence. It was built by Michelozzo in Day 1. Non-festival participants fly at the 15th century and became home to c. 11.30am, London City to Florence Sibyl Cutting and her daughter Iris Origo. (British Airways). See Lippi’s Apparition Aperitivo at Palazzo Gondi, designed in of the Virgin to St. Bernard in the Badia Fiorentina, an abbey and church now home 1490 by Giuliano da Sangallo, favourite architect of Lorenzo de Medici. to the Fraternity of Jerusalem. Day 2. Visit Ghirlandaio’s Last Supper at Ognissanti and the Opificio delle Pietre Dure to see exquisite furniture and ornaments made from semi-precious stones. Palazzo Corsini al Prato was begun in 1591 to designs by Bernardo Buontalenti; it was acquired in 1621 by Filippo Corsini and refurbished by him. Lunch here, hosted by the owner. In the afternoon, see Villa La Pietra, once the property of Sir Harold Acton, and originally built by Francesco Sassetti, general manager of the Medici Bank in the 15th century.

Day 5. The Cenacolo di Sant’Apollonia has a Last Supper by Andrea del Castagno, and there is another by Perugino’s workshop at the Cenacolo di Fuligno. Private backstage tour of the Teatro della Pergola, a historic opera house. The afternoon is free. Day 6. Poggio a Caiano was the country retreat of Lorenzo il Magnifico, and a highly important monument in the history of grand country houses. At Carmignano is the exquisite Visitation by Pontormo. See another Medici villa at Artimino, viewed from the outside before lunch nearby. The Carthusian monastery at Galluzzo has beautiful cloisters and paintings by Pontormo. CONTACT US: +44 (0)20 8742 3355

Day 7. In the morning visit the tiny Museo del Bigallo, a late-gothic structure which houses a small collection of paintings with a religious theme. Fly from Florence to London City, arriving c. 9.15pm.

SPEAKER Dr Michael Douglas-Scott. See page 9.

PRACTICALITIES Price, per person. Two sharing: £2,740 or £2,520 without flights. Single occupancy: £3,130 or £2,910 without flights. Please contact us to discuss your flight requirements, options for transferring to Florence and also accommodation preference for the three nights between the festival and the tour. We can then provide you with a quote. Included: flights (City Flyer) with British Airways (Embraer E190SR); private coach travel outside the city centre for the transfers and excursions; accommodation as described below; breakfasts, 2 lunches and 4 dinners with wine, water, coffee; all admissions; all tips; all taxes; the services of the lecturer and tour manager. By train: contact us for more information. Accommodation. Hotel Santa Maria Novella (hotelsantamarianovella.it): delightful, renovated 4-star hotel in a very central location. Group size: between 8 and 18 participants.

Illustration: Florence, Palazzo Pitti, engraving 1903.

BOOKING FORM

MUSIC IN VENICE 13–18 NOVEMBER 2022 (mi 570) NAME(S) – We do not use titles on documents issued to festival and tour participants unless you want us to by including them here: Participant 1:

Participant 2:

Contact details for all correspondence: Address

Postcode/Zip

Country

Telephone (home) Mobile E-mail T ick if you are happy to receive your festival and booking documents online, where possible – and confirm your e-mail address above. Please complete this section, even if you have told us your preferences before: How would you like to be kept informed about our future tours and events?:

Brochures sent by post Yes

E-newsletter

Yes

What prompted this booking? Please be as specific as possible – e.g. did you see an advertisement in a particular publication? Was this brochure the f irst time you heard about the festival? Or did you come across it on our website?: TRAVEL OPTIONS – Please tick one:

ACCOMMODATION & ROOM-TYPE – Please tick: HOTEL BONVECCHIATI (4*)

SPLENDID VENICE (4*)

Superior double (two sharing) Superior double for sole use Deluxe double (two sharing)

Arriving 12 November

Arriving 13 November

Option 1

Option 4

Option 2

Option 5

Superior double for sole use

Option 3

Deluxe double (two sharing)

No flights: making own travel arrangements to and from Venice.

Junior Suite (two sharing) PALAZZO SANT’ANGELO (4*)

Junior Suite, Grand Canal view (two sharing) Deluxe Suite, Grand Canal view (two sharing) Classic double for sole use Deluxe double for sole use

HOTEL LUNA BAGLIONI (5*)

Deluxe double (two sharing) Superior double for sole use Deluxe double (two sharing)

ST REGIS (5*)

Luxury room, Grand Canal view (two sharing) Deluxe double for sole use Deluxe double (two sharing)

HOTEL GRITTI PALACE (5*)

Landmark room, Grand Canal view (two sharing) Deluxe double for sole use

ARRIVE A DAY EARLY Tick to arrive in your hotel on 12 November

SHARING A ROOM? Please tick: Twin beds

Double bed

PRE- & POST-FESTIVAL – Tick to add: The Story of Venice 7–12 November

Venice Revisited 21–26 November

Venetian Palaces 8–12 November

Florence Revisited 21–27 November

Room-type Double for sole use Double (two sharing)

Twin (two sharing)

Travel option Group flights: either side of tour and festival No flights: making your own arrangements NB: you do not need to select a festival f light option. FURTHER INFORMATION. Please notify us of dietary restrictions.

BOOKING FORM

PASSPORT DETAILS & NEXT OF KIN Essential for airlines and hotels, and in case of emergency. Please use capital letters for your passport details. Title

Surname

Date of birth (dd/mm/yy)

Forename(s)

Place of birth

1. 2.

Passport number

Place of issue

Next of kin name

Relation to you

Issue date (dd/mm/yy)

Expiry date (dd/mm/yy)

1. 2.

Telephone number(s)

1. 2.

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 (mi 570) 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. USING CREDIT. Please tick this box if you are transferring funds from a booking affected by Covid-19 (ie. from a cancelled tour or festival) or a refund credit note. Please tick payment amount: EITHER Deposit 10% of total booking cost.

OR Full balance Required if you are booking within 10 weeks of departure.

Carbon offset donation: tick to add £5 per person. We support the India Solar Water Heating project (visit www.martinrandall.com/sustainable-tourism for details). 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.

FITNESS TESTS By signing this form, you conf irm that you have taken these tests. Please also read ‘f itness for the festival’ on page 16. 1. C hair 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. S tep 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. A gility 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 f itness 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 30 minutes.

Signature: Date:

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

BOOKING DETAILS

MAKING A BOOKING 1. Provisional booking. We recommend that you contact us first 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, and that you sign the booking form. Full payment is required if you are booking within ten weeks of the date the festival or tour 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 nonreturnable 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. PLEASE READ THESE You need to sign your assent to these booking conditions on the booking form. OUR PROMISES TO YOU —W e aim to be fair, reasonable and sympathetic in all our dealings with clients, and to act always with integrity. —W e will meet all our legal and regulatory responsibilities, usually going far beyond the minimum obligations. —W e aim to provide full and accurate information about our holidays. If there are changes, we will tell you promptly. — I f 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. You must be in good health and have a level of fitness that would not impair other participants’ enjoyment by slowing them down or by absorbing disproportionate attention from the festival leaders. Please read ‘Fitness for the festival’ on page 16 and take the self-assessment tests described opposite; by signing the booking form you are stating that you have passed these tests. If during the festival it transpires, in the judgement of the festival leaders, that you are not able to cope, you may be asked to opt out of certain visits or to leave the festival altogether. This would be at your own expense. We reserve the right to refuse to accept a booking without necessarily giving a reason. Foreign Office advice. Before booking, please refer to the FCO website – www.fco.gov.uk – to ensure you understand the travel advice for the places to which the festival goes. Non-UK citizens should look at the advice issued by their governments, which may differ significantly.

insurance must cover, at minimum, medical treatment, repatriation, loss of property and loss of payments to us in the event that you cancel the festival. 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. Experience indicates that free travel insurance offered by some credit card companies is not to be relied upon. Passports and visas. British passports should be valid for at least six months beyond the end of the festival or tour. If you renewed your current passport before the previous one expired, extra months may have been added to its expiry date. Any extra months on your passport over 10 years will not count towards the 6 months needed. Nationals of other countries should check passport and visa requirements with the relevant consulates. 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 the festival or tour the deposit would be forfeited. Thereafter a percentage of the total cost of the festival or tour will be due: up to 57 days: between 56 and 29 days: between 28 and 15 days: between 14 days and 3 days: within 48 hours:

deposit only 40% 60% 80% 100%

If you cancel your booking in a double or twin room but are travelling with a companion who chooses to continue to participate in the festival, 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 the festival or tour. We may decide to cancel a festival or tour if there were insufficient bookings for it to be viable (though this would always be more than eight 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 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. 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 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 a 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 in your view an adequate substitute, we would give a full refund.

Financial protection. Any money you have paid to us for a festival which includes an international flight is protected by our Air Travel Organiser’s Licence (ATOL, number 3622). Payments for bookings which do not include a flight from/to the UK are protected by ABTA – The Travel Association. 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 the festival or tour 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 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. 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. Privacy. By signing the booking form you are stating that you have read and agree to our Privacy Policy, which can be found online at www. martinrandall.com/privacy.

Insurance. It is a requirement of booking that you have adequate holiday insurance cover. The WWW.MARTINRANDALL.COM

MARTIN RANDALL TRAVEL…

POLYPHONY IN PORTUGAL 22–27 MAY 2022

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

MUSIC IN SUFFOLK CHURCHES 4–7 JULY 2022

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.

MUSIC ALONG THE DANUBE 22–29 AUGUST 2022 MUSIC IN VENICE 13–18 NOVEMBER 2022 UK SHORT CHAMBER MUSIC BREAKS THE ALBION QUARTET, 4–6 MARCH 2022 THE NAVARRA STRING QUARTET, 1–3 APRIL 2022 Please contact us for more information.

For 2022 we have planned 150 expert-led tours for small groups (usually 10 –20 participants), four music festivals (such as Music in Venice), several history and music weekends and an extensive programme of online talks and study days in London. For over 34 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

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 ATOL 3622 | ABTA Y6050 | AITO 5085

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