The Miracle of Salzburg – A Festival of Music, 18–24 June 2017

‘The Miracle of Salzburg’ A Festival of Music | 18–24 June 2017

A unique and unprecedented festival of music composed in Salzburg, for Salzburg patrons, performed in the spaces where it was first heard.

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Front cover illustration: Salzburg, mid-20th-century woodcut.

Above: birds-eye view of Salzburg, copper engraving by Braun & Hogenberg, 1581–88.

All the illustrations in this brochure are in the MRT collection.

ATOL 3622 | ABTA Y6050 | AITO 5085

‘The Miracle of Salzburg’ A Festival of Music | 18–24 June 2017 Contents The festival package.......................................................5 Speakers..........................................................................5 Musicians................................................................... 6–7 Concerts................................................................... 8–10 Venues...........................................................................11 Hotels & prices...................................................... 12–13 Travelling to Salzburg.................................................14 Pre-festival tour: Habsburg Austria.................... 15–16 Booking details..................................................... 17–19

About us Martin Randall Travel aims to provide the best planned, best led and altogether the most fulfilling and enjoyable cultural tours and events available. They focus on art, music, history and archaeology in Britain, continental Europe, the Middle East, North Africa, India, China, Japan and the Americas.

Each year there are about 250 expert-led tours for small groups (usually 10 to 20 participants), five to six all-inclusive music festivals, a dozen music and history weekends and about 100 study days in London. For nearly 30 years the company has led the field through incessant innovation and refinement, and set the benchmarks for itinerary planning, operational systems and service standards.

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

‘The Miracle of Salzburg’, 18–24 June 2017

A unique and unprecedented festival: all the music was written in Salzburg, and most will be performed in the places where it was first heard.

Venues include the cathedral, Archiepiscopal Residence, Mirabell Palace and the University Great Hall.

Wolfgang Amadeus Mozart is the largest contributor; other composers are Leopold Mozart (the father), Michael Haydn (Josef ’s brother) and Johann Ernst Eberlin.

Among the pieces by W.A. Mozart are two operas, Apollo et Hyacinthus and Il rè pastore, and twenty-one symphonies.

Ian Page and Wolfgang Redik are the principal conductors, and ensembles include Classical Opera, Mozart Chamber Ensemble and the Austro-Hungarian Haydn Philharmonic.

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‘Salzburg is no place for my talent. In the first place the court musicians do not enjoy a good reputation; secondly one hears nothing; there’s no theatre, no opera! – and even if they wanted to stage one, who is there to sing?’ Times have changed since Mozart vented his frustration with his native city in 1778. Today Salzburg hosts more world-class concerts and opera performances per head of population than anywhere else on the globe. The summer festival established by Richard Strauss and Max Reinhardt in 1920 has the greatest cachet of any European festival. The January Mozartwochen is not far behind.

Never daunted, we still feel there is room for another festival in this gloriously situated Baroque jewel of a city.

And true to our philosophy, ours will be different, probably unprecedented.

All of the music – some 40 works over 15 concerts – was written and first performed in Salzburg. Moreover, most of the works will be played in the venues where they were first heard. Participants will be able to savour a vast swathe of Mozart’s output, ranging from rarities like Apollo et Hyacinthus – his first stage work – to familiar masterpieces such as the sublime Sinfonia Concertante for violin and viola. A special attraction is the inclusion of each of the 21 symphonies Mozart composed in Salzburg between 1770 and 1780, enabling participants to follow his progress from precocious journeyman to consummate master.

The festival package Access to the concerts is exclusive to those who take the festival package, the price for which includes:

Festival staff, German-speaking, will be present to facilitate the smooth running of the event.

Fifteen concerts, including two operas and seven consecutive performances on the Symphony Day. Tickets to individual events will not be available.

Programme booklet: every participant is issued with a booklet which contains information about the itinerary, the concerts and operas and all the arrangements.

Accommodation for six nights in one of five carefully selected hotels within the historic centre of Salzburg.

See page 12 for prices.

In addition, there are extra services which can be booked:

Flights from London to Salzburg, and back from Salzburg or Munich. There is a price reduction if you choose to make your own arrangements for travel to and from Salzburg.

A package of two or three extra dinners, which means either five or all six evenings are spent spent in the company of other festival participants. Please request these on the booking form.

Coach transfers between the airports and the hotels. If booking your own flights you can join these transfers if your flights coincide with one of the festival flight options.

A range of visits and short walks led by local guides.

Details and prices available at a later stage.

Meals: all breakfasts and three dinners with wine, water, coffee. Drinks are provided during concert intervals.

The opportunity of joining a pre-festival tour, Habsburg Austria (see pages 15–16).

Lectures on the music by Richard Wigmore, and on the history of Salzburg by Professor Tim Blanning.

All tips for restaurant staff, drivers, porters etc.

All taxes and obligatory charges.

Left: Salzburg, lithograph c. 1840 by Leopold Rottmann after a drawing by Georg Pezolt.

The Speakers Richard Wigmore is a music writer, lecturer and broadcaster for BBC Radio 3. He writes for BBC Music Magazine and Gramophone and has taught classes in Lieder history and interpretation at Guildhall College of Music & Drama, Trinity Laban Conservatoire of Music & Dance and Birkbeck College. He read French and German at Cambridge and later studied Music at Guildhall.

His publications include Schubert: The Complete Song Texts and Pocket Guide to Haydn.

And while our focus is inevitably on Wolfgang Amadeus, there will also be a smattering of works by other Salzburg composers, including father Leopold and Michael Haydn, whose moving Requiem for Prince-Archbishop Schrattenbach inspired Mozart’s own Requiem twenty years later.

Ours is a one-off, private festival which is unlikely to be repeated for many years, if at all, and the audience is necessarily limited to the capacity of the Knights’ Hall in the Archbishop’s Residence – namely 200. Catch it if you can.

©Lafayette

There is knowing ambiguity in the title we have chosen for the festival. Leopold’s epithet, ‘the miracle which God let be born in Salzburg’, of course refers to his son, but it is not excessively hyperbolic to designate the city itself as an urban and architectural miracle. 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 and streets threads through ancient structures of stone and stucco and enthrals the traveller with charming vistas and fine craftsmanship.

Professor Tim Blanning is Emeritus Professor of Modern European History at the University of Cambridge, Fellow of Sidney Sussex College and Fellow of the British Academy. Among his many books are a study of Emperor Joseph II, the award-winning The Culture of Power & the Power of Culture, the best-selling The Pursuit of Glory: Europe 1648–1815, and the much-translated The Triumph of Music in the Modern World and The Romantic Revolution. His most recent book is Frederick the Great, King of Prussia.

This brochure was produced in house. The text was written and edited by Richard Wigmore, Martin Randall and Maddy Anedda, with the assistance of George Jerger.

The brochure itself was designed by Jo Murray. It went to print on 16th June 2016.

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‘The Miracle of Salzburg’, 18–24 June 2017

The Musicians Mozart Chamber Ensemble

Austro-Hungarian Haydn Philharmonic

Founded by violinist Wolfgang Redik in 2012, the mission of the Salzburg-based Mozart Chamber Ensemble is to perform a wide range of chamber music to the highest standards within the Central European tradition. At its core is a quartet – the Salzburg String Quartet – but its repertoire starts with duos and rises to smaller classical symphonies. This variety of repertoire and the common musical origin of participating members makes them one of today’s foremost versatile chamber ensembles. Their performances are distinguished by verve and vitality as well as talent and musicality. The ensemble has toured Germany, Canada, England and Austria as well as giving regular concerts in their hometown.

The Österreiches-Ungarisches Haydn Philharmonie was founded by Adam Fischer in 1987 to bring together outstanding musicians from both countries. They went on to record Haydn’s complete symphonies, a unique achievement.

Touring widely, they have acquired an international reputation as one of the most spirited and sensitive interpreters of the Viennese classics. They performed a Beethoven cycle in 2013 and the complete Schubert symphonies in 2015 and were the star attraction at the Mostly Mozart Festival in New York for several years. They perform with a number of guest conductors including Adam Fischer and Wolfgang Redik.

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Classical Opera

Sándor Végh Chamber Orchestra

Classical Opera was founded in 1997 by its conductor and artistic director Ian Page to explore the works of Mozart and his contemporaries. It has become one of the leading exponents in its field, attracting considerable critical and public recognition for the high quality of its performances, imaginative programming and ability to discover and nurture outstanding young singers. The company performs regularly at many of London’s leading venues with staged and concert versions of operas by Mozart and other 18th-century composers as well as orchestral music of the time. In 2012 they embarked on a project to record all Mozart’s operas, and in 2015 launched MOZART 250, a 27-year project following the chronological trajectory of his life, works and influences.

The Sándor Végh Chamber Orchestra is made up of outstanding music students at the Mozarteum University Salzburg from all stages of study. It gives several public concerts each year. The Sándor Végh Institute of Chamber Music coordinates the teaching and practice of chamber music at the Mozarteum. This includes teaching for all students, the Masters Degree course in chamber music, regular master-classes, its own chamber music festival and exchange programmes with other institutions. The chair of the Institute is Wolfgang Redik.

A period instrument orchestra To be confirmed in summer 2016.

“The planning and implementation were superb in every tiny detail. This was a holiday of a lifetime.”

“It was a privilege to experience such music performed by musicians of the highest calibre in such marvellous surroundings.”

Comments from previous MRT music festival participants.

Opposite page: Classical Opera ©Benjamin Ealovega.

This page, left: Austro-Hungarian Haydn Philharmonic ©Nancy Horowitz.

Above, left to right: Wolfgang Redik; Ian Page ©Sheila Rock.

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‘The Miracle of Salzburg’, 18–24 June 2017

The Concerts

Solitär, Mozarteum University Mozart Trios & Sonatas

Schloss Mirabell, Marble Hall Haffner Serenade

Mozart Chamber Ensemble | Wolfgang Redik director

Austro-Hungarian Haydn Philharmonic Wolfgang Redik director, violin

Mozart’s violin sonatas and keyboard trios are still among his best-kept secrets. A natural musical democrat, Mozart was the first composer to treat the keyboard and violin as absolute equals, immediately evident in the chirpy, operaticstyle dialogues of the Sonata K.378. Mozart the opera composer is likewise to the fore in the early Divertimento for piano trio, K.254, while two brief trios by Leopold Mozart reveal that the famous violin pedagogue was also a skilled and inventive composer.

Salzburg University, Große Aula Apollo et Hyacinthus Classical Opera | Ian Page conductor Gemma Summerfield soprano (Hyacinthus) Tom Verney countertenor (Zephyrus) Thomas Guthrie director In 1767, Mozart produced his first stage work, a so-called intermedio performed in the intervals of a Latin play. With or without a little help from his father, the eleven-year-old Mozart here displays his precocious mastery of the techniques of opera seria. Hyacinthus’s sister Melia celebrates her imminent promotion to goddess in a coloratura showpiece. Best of all – and pointers to the future – are the two duets, one fierily dramatic, the other a bittersweet lament for Melia and her father. This concert rendition takes place in the very hall where the opera was first performed.

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‘21 July 1776. After dinner I went to the bridal music which young Herr Haffner had ordered for his sister Liserl.

It was by Mozart, and played at their summer house in Loreto Street.’ This diary entry of a Salzburg councillor is the earliest reference to the serenade Mozart composed for the wedding of Elisabeth Haffner. The Mozarts and the Haffners had long been friends; and Wolfgang pulled out all the stops in a serenade that outshines all its predecessors in splendour.

An early performance is known to have taken place in this beautiful Baroque hall.

Mozarteum, Viennese Hall Quintet & Divertimento Mozart Chamber Ensemble | Wolfgang Redik director While breezy charm prevails, Mozart’s B-flat String Quintet also has its more serious side, whether in the idyllic Adagio or the finale’s bouts of ‘learned’ counterpoint. It is complemented here by the last and richest of Mozart’s Salzburg Divertimenti, K.334, commissioned by the patrician Robinig family. Scored for horns and string quartet, it contains one of Mozart’s most seductive minuets, and a poignant minor-keyed variation movement that far transcends mere entertainment music.

Above: the Mozart family at the piano, copper engraving 1856 after a 1779 painting

by Napomuceno. Opposite page: Salzburg, early-20th-century etching.

Archbishop’s Residence, Knights’ Hall Il rè pastore

Archbishop’s Residence, Knights’ Hall Mozart & Michael Haydn: Piano Concerto & Symphonies

Classical Opera | Ian Page conductor John Mark Ainsley tenor (Alessandro) Sarah Fox soprano (Aminta) Ailish Tynan soprano (Elisa) Anna Devin soprano (Tamiri) Benjamin Hulett tenor (Agenore)

Mozart Chamber Ensemble | Wolfgang Redik director

Salzburg in Mozart’s day was virtually an opera-free zone.

The closest he ever got to composing a true opera in Salzburg was the pastoral serenata, Il rè pastore, commissioned in 1775 by Archbishop Colloredo for a visit of the Habsburg Archduke Maximilian. For a work glorifying the Habsburg dynasty, Metastasio’s celebration of enlightened kingship, was a diplomatic choice. The central characters, the ‘shepherd king’ Aminta and his beloved Elisa, embody a Rousseauesque idyll; and Mozart responds with a string of arias in his most mellifluous vein. The opera received its première in this hall on 23 April 1775.

“The festival really provided so many special moments that I will carry with me for years to come.”

“Wonderful music played the best performers.

A real feast.”

Comments from previous MRT music festival participants.

Mozart was warmly disposed to his Salzburg colleague, and thought well enough of this G major symphony to add a slow introduction for a performance in Vienna. Later generations were fooled into thinking the whole symphony was Mozart’s ‘No.37’. Yet Michael’s work has a vitality and charm of its own, with a colourfully scored slow movement and a fetching jig-like finale. Wolfgang appears here courtesy of his chamber-musical Symphony No.33 and the most lyrical of the three keyboard concertos he composed in 1776. It is likely that these pieces were first heard in the Knights’ Hall.

Cathedral of St Rupert Requiem & Mass Classical Opera | Ian Page conductor For his contemporaries Michael Haydn rivalled brother Joseph as a composer of church music. The Requiem he wrote in 1771 for Archbishop Sigismund Schrattenbach might explain why; Mozart even remembered the sombre opening in his own Requiem. Haydn’s Requiem is a powerful, often moving work, darkly coloured by an orchestra including four trumpets and trombones. It is paired with the last of Mozart’s Salzburg masses, less familiar than the slightly earlier Coronation Mass, yet in the same worldly, ceremonial vein. The reverberant acoustic of the vast cathedral is a small price to pay for hearing these pieces in the hallowed space where they were first performed. book online at www.martinrandall.com

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‘The Miracle of Salzburg’, 18–24 June 2017

Archbishop’s Residence, Knights’ Hall Mozart Symphonies

Solitär, Mozarteum University Grand Finale

Various

Classical Opera | Ian Page conductor Sarah Fox soprano

Programming eighteen Mozart symphonies in a single day may seem quixotic. Yet with time for reflection and refreshment between the seven chronologically planned concerts, our total symphony immersion promises to be both entertaining and enlightening. There could be no better way of following the teenaged composer’s burgeoning mastery as we move from the cheerful Italianate bustle of K.73 to the passion of the ‘little’ G minor, K.183, and the lyrical grace of K.201 in A. And while charm and coltish exuberance prevail, the sheer variety of these Salzburg works, most of them rarely played, might surprise the unwary.

Each concert consists of two or three symphonies and lasts about an hour, with the first concert beginning at 10.30am and the last at 9.15pm. There is half an hour between each concert and longer intervals around lunchtime and dinner (1 hr 40 mins for the latter). It is not expected that every audience member will want to attend every concert, and there will probably be some coming and going even between pieces. Whatever your attendance, the day should be a unique musical event of rare intensity and joy.

Illustration, right: by Count Eugen Ledebur in ‘This Salzburg’, publ. 1937.

Above: Salzburg, wood engraving c. 1880. Left: etching from ‘The English Illustrated Magazine’, 1885.

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We end our Mozartian celebration with a showcase of some of the finest music from his Salzburg years. Framing the concert are two symphonies from 1779–80 that imbue ceremonial grandeur with deeper, subtler shadings. Mozart reveals his theatrical genius in arias from the unfinished Zaide, including the ravishing Ruhe sanft, extracts from the incidental music to König Thamos, and the moving concert scena Ah, lo previdi.

The much-loved Sinfonia Concertante is an iconic work for Mozart lovers. Yet while this music transcends mere emotional autobiography, it is tempting to relate its sombre undercurrents, rising to the surface in the poignant Andante, to Mozart’s smouldering discontent with his Salzburg servitude.

The Venues Cathedral of St Rupert The mediaeval predecessor was burnt down in 1598, and after a couple of false starts to overly ambitious plans construction began in 1612 to the designs of the north Italian architect Santino Solari. With a length of 99m it is still huge, and it is the first cathedral north of the Alps to be built in a Late Renaissance-Early Baroque style. It’s appearance has hardly changed since the middle of the 18th century.

Archbishop’s Residence, Knights’ Hall As was the cathedral, the rebuilding of the Residenz was instigated by the most ambitious of Salzburg’s rulers, Wolf Dietrich von Rattenau, Prince-Archbishop 1587–1612.

Extension and embellishment was continued by several successors. The decoration of the Rittersaal (Knights’ Hall) is 18th-century, the ceiling paintings illustrating stories of Alexander being by the greatest of Austrian Baroque painters, Johann Michael Rottmayer. This was the room where most secular concerts under the patronage of the Prince-Archbishops took place and is the venue used most often by this festival.

Salzburg University, Große Aula The gymnasium founded by Archbishop Markus Sittikus von Hohenems in 1617 was elevated to university status in 1622.

The main building was designed in 1631 by Santino Solari; the Aula (Great Hall) within was the largest academic hall outside Italy at the time. Traces of the original frescoes survive, revealed in 1972 after being covered by the 1778 refurbishment. Further refurbishment a few years ago installed raked seating.

Schloss Mirabell, Marble Hall The origins of this archiepiscopal summer residence go back to an abode built in 1606 for Wolf Dietrich’s mistress.

The enlargement of 1721–27 by the leading Austrian architect Johann Lukas von Hildebrandt resulted in the spectacular stairway and the magnificent Marble Hall. These are among the only survivals of the Baroque palace after comparatively utilitarian rebuilding followed the fire of 1818. The gardens are delightful.

Mozarteum, Viennese Hall The Mozarteum was founded in 1841 to facilitate public concerts as well as to train musicians. To that end the current building housing two concert halls was erected 1910–14. The architect Richard Berndl adopted a style which is a late variant of Art Nouveau and loosely evokes 18th-century Rococo. Our concert is in the smaller hall, the Wiener Saal (Viennese Hall); its limited capacity requires the concert to be performed twice.

Solitär, Mozarteum University The conservatory of the Mozarteum has its roots in a foundation dating to 1841 – the 50th anniversary of Mozart’s death – and it became a university in 1998. The Solitär is a modern and acoustically excellent concert hall designed by the Munich-based architect Robert Rechenauer. It opened in 2006 – the 250th anniversary of Mozart’s birth.

More about the concerts Exclusive access. The concerts are private, being planned, promoted and administered by Martin Randall Travel exclusively for an audience consisting of those who have taken the full festival package.

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

Repeat concerts. Two of the six venues are too small to accommodate all 200 participants and so these concerts are repeated and the audience is split according to hotel.

Operas. They are performed as concert versions with no staging, costumes or lighting design.

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

Above right: Salzburg, Cathedral of St Rupert, etching by Karl Schneeweisschen 1800.

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‘The Miracle of Salzburg’, 18–24 June 2017

Hotels & Prices We have selected five hotels for this festival. There is one 3-star and the others are all 5-star. The hotel is the sole determinant of the different prices for the festival package.

Quiet? There are traffic restrictions in the historical centre of Salzburg limiting the sound of wheeled traffic. But busy street life and the occasional permitted vehicle can mean that no hotels have many rooms which can be guaranteed to be absolutely quiet.

Luggage. Traffic restrictions also apply to coaches and there is a possibility therefore that you will have to carry your own luggage from a nearby set-down point to the hotel. Suitcases with wheels are advised.

Rooms vary. As is inevitable in historic buildings, rooms vary in size, outlook and décor.

Suites. Some hotels have suites. All are subject to availability at the time of booking. Prices are either given on these pages or are available on request.

All prices given are per person. A list of what is included is given on page 5.

Star Inn, Gablerbräu Housed in an historic building dating from the 15th century, this 3-star hotel has recently undergone comprehensive refurbishment. Rooms are well equipped and decorated simply in neutral tones; there is free WiFi access and individually controllable air-conditioning. No room service, and no minibars, but there is a small bar on the ground floor and a pleasant terrace. www.starinnhotels.com Superior double (two sharing) £2,930 Superior double for single use £3,310

There is a reduction of £150 if you choose not to take the flights included in the package (see page 14 for these).

Salzburg, River Salzach, wood engraving c. 1880.

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Hotel Sheraton

Hotel Goldener Hirsch

The Hotel Sheraton occupies a modern building next to Mirabell Garden, and is approximately 20 minutes walk from the furthest venue (Salzburg Cathedral). The plush, contemporary rooms offer all the services you would expect of a 5-star international standard including air conditioning and free WiFi. Amenities include an airy restaurant with garden views, plus a piano bar with a terrace.

There’s a fitness centre, spa, dry cleaning and laundry services, and a hair salon.

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 very well equipped with the amenities of a luxury hotel, and WiFi is available without charge. The hotel has two good restaurants, and a bar.

www.sheratonsalzburg.com Double (two sharing) £3,720 Double for single use £4,110

Suites are available on request. www.goldenerhirsch.com Double (two sharing) £3,720 Double for single use £4,110

Hotel Bristol

Hotel Sacher

A well-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 décor is traditional and tasteful. Rooms are equipped with all mod cons including adjustable air-conditioning.

All rooms have baths in the bathrooms. Wireless internet is available throughout the hotel free of charge. Other amenities include a sophisticated restaurant and bar.

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, and a 10-minute walk from the cathedral.

www.bristol-salzburg.at Suite (two sharing) £4,190 Double (two sharing) £3,860 Double for single use £4,180

Stylish elegant décor in neutral tones is enhanced with antique furniture and oil paintings, and rooms have all mod cons, including individually adjustable air conditioning.

WiFi is available free of charge throughout, and there are three good restaurants, along with a bar and café with a terrace overlooking the river. Rooms with a river view and suites are available on request. www.sacher.com Double (two sharing) £4,280 Double for single use £4,800 book online at www.martinrandall.com

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‘The Miracle of Salzburg’, 18–24 June 2017

Travelling to Salzburg Flights from London to Munich, and back from either Munich or Salzburg, are included in the price of the festival.

You can choose to join one of these or make your own flight arrangements (in which case there is a reduction in the price).

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

Festival flights Option 1. 18th June: depart London Heathrow 09.05, arrive Munich 12.00 (BA 950). 24th June: depart Salzburg 12.05, arrive London Gatwick 13.05 (BA2653). Please note this option leaves from Heathrow and returns to Gatwick.

Option 2. 18th June: depart London Heathrow 09.05, arrive Munich 12.00 (BA 950). 24th June: depart Munich 16.25, arrive London Heathrow 17.30 (BA 953).

Fitness for the festival

Option 3. 18th June: depart London Heathrow 10.55, arrive Munich 13.45 (LH2473). 24th June: depart Munich 14.45, arrive London Heathrow 15.45 (LH2476).

We stress that there is quite a lot of walking and stairclimbing required to get to the concerts and other events.

You would need be able to walk unaided for at least thirty minutes in order to be able to participate without difficulty.

Option 4. 18th June: depart London Heathrow 12.40, arrive Munich 15.35 (BA 952). 24th June: depart Munich 16.25, arrive London Heathrow 17.30 (BA 953).

We ask that prospective participants assess their fitness by trying these simple exercises:

The no-flights option

1. Chair stands. Sit in a dining chair, with arms folded and hands on opposite shoulders. Stand up and sit down at least 8 times in 30 seconds.

There is a reduction of £150 per person for the package without flights. Please tick Option 5: no flights on the booking form.

Should you decide to join the festival at Munich airport to coincide with one of our flight arrivals, you are welcome to join a coach transfer to your hotel. Otherwise you would have to make your own way.

If joining the pre-festival tour This has separate flight arrangements. You do not need to choose a festival flight option. Please see pages 15–16 for details of the tour.

Above right: Mozart’s House in Salzburg, engraving c. 1880.

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Self-assessment tests.

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

3. Agility test. Place an object 3 yards from the edge of a chair, sit, and record the time it takes to stand up, walk to the object and sit back down. You should be able to do this in under 7 seconds.

Pre-festival tour

Habsburg Austria 11–18 June 2017 (md 349) 8 days • £2,720 Lecturer: Richard Bassett Outstanding range of castles, abbeys, churches, houses and palaces.

Some excellent art collections.

Picturesque towns and villages, and consistently beautiful scenery.

Led by Richard Bassett, historian specialising in the Austro-Hungarian Empire.

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 an afternoon 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.

monumental stairway and oval church, ranks with the finest of Baroque abbeys.

Dürnstein is an enchanting little town on the Danube, backed by a hill with a ruined castle and fronted by a monastery church at the water’s edge. Overnight Melk.

Day 3: Melk, Artstetten, Grein, Linz.

Perched on a rock outcrop beside the Danube, the vast Benedictine Monastery at Melk is one of the greatest creations of the Baroque era. A sequence of state apartments includes a terrace with a magnificent view of the Danube valley and culminates in a church of dazzling splendour. Schloss Artstetten was rebuilt in the 16th century and again for Archduke Franz Ferdinand, whose descendants still live here.

Grein is a delightful little town on the Danube with a hilltop castle and an 18th-century theatre.

First of two nights in Linz.

Day 1: Vienna, Melk. Fly at c. 10.10am from London Heathrow to Vienna (British Airways).

Drive to central Vienna. The Hofburg, the Habsburg Palace, is an agglomeration of buildings spanning six centuries with an incomparable collection of precious regalia in the treasury. Continue to Melk where the first of two nights is spent.

Day 4: Linz, Wilhering, St Florian. The Danube city of Linz, capital of Upper Austria, has a very attractive historic centre with a town hall, several churches of architectural importance and a museum in the former Habsburg residence.

The monastery church at Wilhering beside the Danube has the finest Rococo interior in Austria. The buildings of the great Augustinian monastery of St Florian span the Baroque era, beginning with the church by Carlo Carlone and culminating in the mighty Marble Hall by Jakob Prandtauer. Overnight Linz.

Day 2: Riegersburg, Altenburg, Dürnstein, Melk. Drive through idyllic hilly scenery north of the Danube to Schloss Riegersburg, an imposing 18th-century mansion in private ownership. Nearby, the Benedictine abbey at Altenburg, distinguished by the library hall,

Day 5: Linz, Bad Ischl, Innsbruck. Drive through ravishing landscapes to Bad Ischl, where Franz Joseph stayed every summer from 1854 to 1914, turning the little valley town into one of Europe’s most fashionable spas. Here visit the Kaiservilla (which is still in Habsburg

Itinerary

ownership). After lunch drive to Innsbruck with a stop en route. First of two nights in Innsbruck.

Day 6: Innsbruck. Surrounded by mountains, Innsbruck has a spectacular natural setting with a joyously picturesque historic centre. Schloss Ambras just outside Innsbruck is a Habsburg palace of the 16th century; surviving here is a collection of curiosities which ranks as one of the first museums in the world. An afternoon walk around Innsbruck includes the astonishing tomb of Emperor Maximilian (d. 1519) with 28 larger-than-life bronze statues, the 18th-century Habsburg state apartments in the Hofburg and the Baroque cathedral. Overnight Innsbruck.

Day 7: Innsbruck, Salzburg. The episcopal city-state of Salzburg once played a major role in European culture and politics, and the old town centre has scarcely changed since the days of its greatness two centuries ago. Among the places visited are the gardens and stair hall of Schloss Mirabell, churches by the greatest master of Austrian Baroque, Fischer von Erlach, the Late-Gothic Franciscan church and the mighty cathedral, the first major Baroque building north of the Alps. Overnight in Salzburg.

Day 8: Salzburg, Munich airport. For participants joining ‘The Miracle of Salzburg’: the day in Salzburg is free until dinner in your hotel. For participants not joining the festival: Drive to Munich and fly to London Heathrow, arriving at c. 5.30pm.

Final day of the festival, 24th June. For those combining this tour with the festival: fly from Salzburg to London Gatwick, arriving at c. 1.00pm. Please note that you fly out from Heathrow and return to Gatwick.

book online at www.martinrandall.com

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Pre-festival tour

Habsburg Austria, continued

Lecturer Richard Bassett. Journalist and historian. He was a foreign correspondent for The Times throughout the 1980s and early 90s, covering central and eastern Europe. His books include Austrians: Tales from the Vienna Woods, Hitler’s Spy Chief: The Wilhelm Canaris Mystery, Balkan Hours and A History of the Habsburg Army.

Practicalities Price, per person. Two sharing: £2,720 or £2,550 without flights. Single occupancy: £2,990 or £2,820 without flights.

Included: flights (Euro Traveller) with British Airways (Airbus 320); travel by private coach; hotel accommodation as described below; breakfasts; 2 lunches and 5 dinners with wine, water, coffee; all admissions; all tips; all taxes; the services of the lecturer and tour manager.

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Combining this tour with the festival We charge you the price including flights for this tour, and the ‘no flights’ price for the festival (see page 12). If you are making your own arrangements for travelling to and from the tour and festival, then you pay the ‘no flights’ price for both.

You will not have to choose a festival flight option for your journey back to London.

Please see the final day of the itinerary.

Accommodation. Hotel zur Post, Melk (postmelk.at): family-run 4-star hotel in the centre of town with fine views of the abbey. Archotel Nike, Linz (arcotelhotels.com): functional 4-star hotel close to the Danube. Grand Hotel Europa, Innsbruck (grandhoteleuropa.at): the city’s only 5-star hotel, 10 minutes’ walk from the historic

+44 (0)20 8742 3355 | info@martinrandall.co.uk

centre. Hotel Bristol, Salzburg (hotel.bristolsalzburg.at): 5-star family-run hotel, 2 minutes’ walk from the Mozarteum and just across the river from the Festspielhaus. If you are joining the festival and would prefer to stay in your festival hotel on the final night of the tour (and you are not already staying at the Hotel Bristol), please contact us for a quote.

How strenuous? Quite a lot of walking is involved, some of it uphill and over roughly paved paths. It should not be undertaken by anyone who has difficulties with everyday walking and stairclimbing. There are also some long coach journeys. Average distance by coach per day: 70 miles.

Group size: between 12 and 22 participants.

Previous page: Melk Abbey, lithograph by Alois Hänisch (1866–1937). Below: Innsbruck, aquatint c. 1830.

‘The Miracle of Salzburg’, 18–24 June 2017

Booking form Name(s) as you would like it/them to appear to other festival participants Participant 1 Participant 2

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

What initially prompted your booking?

For example, a marketing email from us, browsing on our website, or receiving this brochure.

Hotel and room type – please tick. Hotel details and prices are given on pages 12–13.

Double for sole use

Double (2 sharing)

Superior double for sole use

Superior double (2 sharing)

Suite (2 sharing)

River view room

Star Inn, Gablerbräu

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☐

☐

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Hotel Sheraton

☐ ☐ ☐ ☐

☐ ☐ ☐ ☐

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-

-

-

-

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-

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☐ ☐ On request ☐ On request

Hotel Bristol Hotel Goldener Hirsch Hotel Sacher

Sharing a room? Please tick for:

☐ Twin beds

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☐ On request

☐ Double bed

Travelling to and from Salzburg – see page 14. Please tick one option, unless you are also booking the pre-festival tour. ☐ Option 1. London Heathrow–Munich; Salzburg–London Gatwick Depart 09.05, return 13.05 ☐ Option 2. London Heathrow–Munich return Depart 09.05, return 17.30 ☐ Option 3. London Heathrow–Munich return Depart 10.55, return 15.45 ☐ Option 4. London Heathrow–Munich return Depart 12.40, return 17.30 ☐ Option 5. No flights.

Making my own arrangements for travel to and from the festival. Reduction: £150.

Pre-festival tour. Tick to book. ☐ Habsburg Austria, 11–18 June 2017. See pages 15–16.

Room type. Please tick one. ☐ Double for sole use ☐ Double (2 sharing)

☐ Twin (2 sharing)

Travel arrangements. Please tick one. ☐ I will take the flights included at the start of the tour and end of the festival (see the itinerary on page 15) ☐ I will make my own travel arrangements Extra dinners. Please tick to book. ☐ Two extra dinners. Price: £120. ☐ Three extra dinners. Price: £180. Choose this option to spend every evening in the company of other festival participants.

‘The Miracle of Salzburg’, 18–24 June 2017

Booking form Further information or special requests, including dietary requirements.

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

Title

Surname

Forename(s)

Nationality

Place of birth

Date of birth (dd/mm/yy)

Passport number

Place of issue

Date of issue (dd/mm/yy)

Date of expiry (dd/mm/yy)

1 2

1 2

Next of kin or contact in case of emergency.

1. Name

Relation to you

Telephone

2. Name

Relation to you

Telephone

Payment & agreement

(Bank transfer continued.)

Please tick payment amount:

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

☐ EITHER Deposit(s). 10% of your total booking cost.

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

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

☐ OR Full Payment. This is required if you are booking within 10 weeks of departure (9th April 2017 or later).

TOTAL: £ Please tick payment method: ☐ Cheque. I enclose a cheque payable to Martin Randall Travel Ltd – please write the festival code (md 350) on the back. ☐ Debit or credit card. I authorise Martin Randall Travel to contact me by telephone to take payment from my Visa credit/Visa debit/Mastercard/AMEX.

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

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

Signature Date

☐ Bank transfer. Use your surname and the festival code (md 350) as a reference and ask your bank to allow for all charges.

ATOL 3622 | ABTA Y6050 | AITO 5085

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

Martin Randall Australasia PO Box 1024, Indooroopilly, QLD 4068, Australia Tel 1300 55 95 95 | New Zealand 0800 877 622 anz@martinrandall.com.au Canada Tel (647) 382 1644 | canada@martinrandall.ca USA Tel 1 800 988 6168 (connects with London office)

‘The Miracle of Salzburg’, 18–24 June 2017

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

2. Definite booking Fill in the Booking Form and send it to us with the deposit(s) or make a definite booking online, at www.martinrandall.com. It is important that you read the Booking Conditions at this stage, and that you sign the Booking Form if booking offline. Full payment is required if you are booking within ten weeks of the festival (i.e. 9th April 2017 or later).

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

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

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

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

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

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

What we ask of you That you read the information we send to you.

Specific terms Our contract with you. From the time we receive your signed booking form and initial payment, a contract exists between you and Martin Randall Travel Ltd. Eligibility. We reserve the right to refuse a booking without necessarily giving a reason. You need to have a level of fitness which would not spoil other participants’ enjoyment of the festival or tour by slowing them down – see ‘Fitness for the festival’ on page 14. To this end we ask you to take the tests described. By signing the booking form you are stating that you have met these requirements. If during the festival or tour it transpires you are not able to cope adequately, you may be asked to opt out of certain visits, or be invited to leave altogether. This would be at your own expense.

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Insurance. It is a requirement of booking that you have adequate holiday insurance for the duration of your holiday with Martin Randall Travel Ltd. Cover for medical treatment, repatriation, loss of property and cancellation charges must be included. Insurance can be obtained from most insurance companies, banks, travel agencies and (in the UK) many retail outlets including Post Offices. Experience tells us that free travel insurance offered by some credit card companies is not reliable in the event of a claim.

Passports and visas. Participants must have passports, valid for at least six months beyond the date of the festival. No visas are required for travel in Austria for UK or other EU citizens, or for citizens of the USA, Canada, Australia or New Zealand. Nationals of other countries should ascertain whether visas are required in their case, and obtain them if they are.

If you cancel. If you have to cancel your participation in the festival or tour there would be a charge which varies according to the period of notice you give. Up to 57 days before departure the deposit only is forfeited. Thereafter a percentage of the total cost will be due: from 56 to 29 days: from 28 to 15 days: from 14 to 3 days: within 48 hours:

40% 60% 80% 100%

If you cancel your booking in a double or twin room but are travelling with a companion who chooses not to cancel, the companion will be liable to pay the stipulated single supplement.

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

If we cancel the festival or tour. We might decide to cancel the festival or tour if at any time up to eight weeks before departure there were insufficient bookings for it to be viable. We would refund everything you had paid to us.

Safety and security. If the UK Foreign and Commonwealth Office advises against travel to places visited on a tour or festival, we would cancel it or adjust the itinerary to avoid the risky area. In the event of cancellation before departure, we would give you a full refund.

We would also treat sympathetically a wish to withdraw from a tour to a troubled region even if the FCO does not advise against travel there.

Seatbelts. Our tours and festivals subscribe to the health and safety legislation of the destination. In some parts of the world the law concerning seatbelts differs to the UK. The limits of our liabilities. As principal, we accept responsibility for all ingredients of the festival or tour, except those in which the principle of force majeure prevails. Our obligations and responsibilities are also limited where international conventions apply in respect of air, sea or rail carriers, including the Warsaw Convention and its various updates.

If we make changes. Circumstances might arise which prevent us from operating the festival or tour exactly as advertised. We would try to devise a satisfactory alternative, but if the change represents a significant loss to the festival or tour

we would offer compensation. If you decide to cancel because the alternative we offer is not acceptable we would give a full refund.

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

Financial protection: ABTA. We provide full financial protection for our package holidays that do not include a flight, by way of a bond held by ABTA The Travel Association.

We will provide you with the services listed on the ATOL Certificate (or a suitable alternative).

In some cases, where we aren’t able do so for reasons of insolvency, an alternative ATOL holder may provide you with the services you have bought or a suitable alternative (at no extra cost to you). You agree to accept that in those circumstances the alternative ATOL holder will perform those obligations and you agree to pay any money outstanding to be paid by you under your contract to that alternative ATOL holder.

However, you also agree that in some cases it will not be possible to appoint an alternative ATOL holder, in which case you will be entitled to make a claim under the ATOL scheme (or your credit card issuer where applicable). If we, or the suppliers identified on your ATOL certificate, are unable to provide the services listed (or a suitable alternative, through an alternative ATOL holder or otherwise) for reasons of insolvency, the Trustees of the Air Travel Trust may make a payment to (or confer a benefit on) you under the ATOL scheme. You agree that in return for such a payment or benefit you assign absolutely to those Trustees any claims which you have or may have arising out of or relating to the nonprovision of the services, including any claim against us (or your credit card issuer where applicable). You also agree that any such claims maybe re-assigned to another body, if that other body has paid sums you have claimed under the ATOL scheme.

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

Martin Randall Travel Ltd Voysey House Barley Mow Passage, London W4 4GF United Kingdom Tel +44 (0)20 8742 3355 Fax +44 (0)20 8742 7766 info@martinrandall.co.uk www.martinrandall.com Martin Randall Australasia PO Box 1024 Indooroopilly QLD 4068 Australia Tel 1300 55 95 95 New Zealand 0800 877 622 anz@martinrandall.com.au Canada Tel (647) 382 1644 canada@martinrandall.ca USA Tel 1 800 988 6168 (connects with London office)

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More music festivals in 2017: A Festival of Music in Florence 13–18 March 2017 Toledo: A Festival of Spanish Music 20–25 May 2017 The Rhône Music Festival 6–13 July 2017 The Danube Music Festival 20–27 August 2017 The Johann Sebastian Bach Journey 4–10 September 2017 Vivaldi in Venice 5–12 November 2017 Please contact us for information.