Wine from a philosopher

I had another chance recently to meet Serge and Marc Hochar, the father and son team that runs Chateau Musar high up in the Bekaa Valley in Lebanon, this time tasting their whites.

Anyone who has spoken with Serge would agree that he is a charismatic gentleman. He has been making Chateau Musar since 1959, and although his son recently took over day-to-day operations, Serge still retains responsibility for overall direction in winemaking and continues to present the wines around the world, a role that he clearly enjoys.

Serge is a competent winemaker, but forget about asking him any technical details—I tried and failed. He prefers to talk about philosophy, and likens wine with the brain: we all have different ways of thinking and sensing, and so does wine. Every wine evolves differently. His 180ha vineyard is organic and the wine is made with minimal human interference and sulphur. Serge believes wines make themselves.

We tasted his white, the 1999 and the 1989. It is a blend of Chardonnay and Viognier, pale brown in colour. The 1999 had an intense marmite savouriness with a round mouthfeel and lingering length, while the ten years older 1989 was, surprisingly, much fresher on the palate with still a hint of the floral. Why? I asked. Was it because of the vintage, the winemaking, the ageing? He shrugged and said this is just how it developed. Just like himself: he felt he was younger now than yesterday — 27 years old, apparently. Well, I suppose we can’t be too technical all the time. After all, wine is for the enjoyment, especially with company.

Chateau Musar is not everyone’s glass of wine. ‘It is faulty, oxidised, bretty....’, said some, but then it has its loyal followers. Life wouldn’t be fun if every winemaker made the same "McDonald’s" wine.

Having said that, his new range, Musar Jeune, first produced in 2007, is unoaked, vibrant and approachable. With its modern label, it appeals to the young consumer who prefers an easy drinking style. It is apparently a big seller in Europe. The white is a blend of Viognier, Vermentino and Chardonnay. It is refreshing yet has a good concentration of fruit. Musar Jeune Red is a blend of Cinsault, Syrah and Cabernet Sauvignon with ripe tannins and a fruity palate. Despite his philosophical approach, Serge is still a businessman, sensing that a new style of wine is needed for today’s consumers.

When I left, I was still pondering some of Serge’s words: "My doctor is wine", "My whites are my reds"... Well, let’s have a glass of wine.

Chateau Musar is available from Fico International

Another grape variety for the list

Jancis Robinson’s latest book, 'Wine Grapes', lists 1,368 varieties. You may also have heard of ‘The Wine Century Club’: to qualify, you must have tasted at least 100 different grape varieties. Most of us would struggle to reach 50, so if you are going to set your mind on joining The Wine Century Club, or even on tasting all the varieties in Jancis’s book, here’s one you should try.

Christophe Reynouard, owner of Domaine du Grangeon in Cote du Rhone, proudly presented his hidden secret, the ancient grape Chatus. According to Jancis, Chatus used to be widespread from the Alps to the the Massif Central before the arrival of phylloxera, but it has largely disappeared except in the Ardèche, the western bank of the Rhone. Christophe said that after phylloxera most growers planted the higher yielding Carignan. Chatus, on its own rootstock, has only survived in areas where there is no clay, since phylloxera doesn’t like clay. Today, Chatus is being revived, with about 54 ha in the Ardèche shared by some 35 growers.

Chatus has small berries and produces wine with a deep colour. The wine's high tannin and acid structure and its aroma profile give it a resemblance to Barolo, which is not a big surprise as DNA profiling has linked Chatus to Nebbiolo. Christophe first started making it in 1998 using carbonic maceration because of the high tannin structure. Now, with better vineyard management and knowledge of the grapes, he makes it with 100% destemmed grapes, three to four weeks skin contact and 23 months ageing in new barrels. The high tannin is supported by the good fruit concentration and firm acidity, and it certainly has ageing potential.

Christophe is a prolific winemaker. He makes 15 wines from 17 ha of vineyard planted with some ten varieties. His philosophy? He has only 40 years as a winemaker before he has to hand the cellar key to the next generation. He could just make three wines a year, but he believes that the more he makes the more opportunities he will have to learn from his mistakes. Over a 40 year career he might make 600 wines, a much bigger satisfaction than making only 120.

Christophe's Viognier is a very pleasant wine with a chewy palate and an intense aroma of spices, ginger, and honey. No wonder, since he once worked as a cellar master at Georges Vernay, a famous producer in Condrieu. As well as the Chatus, another unusual wine is his Gamay Vin de Paille, made from dried Gamay grapes. A powerful sweet wine of red fruits and chocolate notes, it would make a good dessert on its own.

Christophe, rightly, is concerned about climate change. His Gamay is being harvested about seven days earlier now than in 1998 when he took over the domaine from his father. Growers in warm regions everywhere are searching for later-ripening grapes. Chatus, a mid to late ripener with high acidity, could well be the answer for growers in the Rhone.

Domaine du Grangeon is available from Cottage Vineyards.

The Wine Detective?

At a recent Domaine Ponsot tasting, it was interesting enough tasting the wines and listening to Laurent Ponsot, the fourth generation in the winemaking family, talking about them. But, like a great detective novel, it was the twist at the end that made it especially memorable.

Let’s focus on the wine first. Like most Burgundian producers, Laurent respects the land. He insists that it is the overall geology of Burgundy, not merely the soil, that results in so many appellations—1,250 in total. Wines from two adjacent rows of vines can be totally different if the rows are on different sides of the fault line, because the minerals underground are not the same. Hence his remark, "We don’t produce Pinot Noir, we produce appellations."

To preserve integrity, Laurent has no fixed rules for making a wine. He does only what is necessary to help it express itself. The vineyards are organic and the work is natural. Also, he does not use new oak barrels, first because of the overpowering wood flavour imparted and second because of the fast ingress of oxygen—a new barrel transmits too much oxygen, resulting in premature oxidation. He compares this with the tragedy of a child destined to be a sumo wrestler: the child was overfed so much that he died young. Laurent's newest barrel is five years old.

We tasted the 2009 and 2010 vintages. Laurent reckoned 2010 was 100% a 'terroir wine'. The weather was not great so the sun did not have a great influence on the grapes. Yield was down across the board, but for those who made it the wine was a true expression of terroir. In contrast, 2009 was an easy vintage with perfect weather. Even the lesser vineyards produced better and riper grapes than normal. It was a '35% vintage' wine, according to Laurent. For me, both vintages were good, though the younger wines were too closed.

We were surprised to see that the wines were sealed with a synthetic closure, the Ardea Seal AS-Elite to be exact. Laurent was excited about this. He had spent 20 years searching for the perfect closure and eventually found this in Italy. It has a polymer section in contact with the wine that allows oxygen to go in but not wine to go out, like a Goretex layer. Compared to cork, this gives the dual advantages of avoiding TCA taint and enabling more precise control of maturation.

But on top of this the Ardea closure, being difficult to copy, offers the additional benefit of making it easier to spot counterfeit wine. The topic of counterfeiting makes Laurent animated. He proudly points out that all his bottles have the domain name inscribed in the bottom, and the label is made of a paper like that used in bank notes that can be verified using special machines. Even more impressively, each bottle also carries a hologram for authentication. Clearly Laurent is out to make sure his wines will not easily be counterfeited.

I smiled, perhaps questioning whether all this was a little excessive. It was then that Laurent dropped his bombshell. He earnestly told me that he works in collaboration with the FBI, and that it was his investigation that led to the arrest of the infamous Rudy Kurniawan in 2012! I had followed this story closely last year but during the tasting it didn't cross my mind that the gentleman next to me was the man that had sent shockwaves through the auction market. Shame on me, I should have done more research beforehand.

To Laurent, the winemaker is only one element in the process, and wine is mostly made by itself. He reckons he is the laziest winemaker out there, often preferring to travel the world getting closer to customers. Well, I reckon being a counterfeit detective should also be taken into consideration!

Domaine Ponsot is available from Altaya.

Identifying wine of the World

Most of us are impressed by people who can get the wine correct at a blind tasting, and secretly wish that we could do the same. Considering there are more than a dozen major wine producing countries and over 20 popular grape varieties, not to mention the hundreds of smaller wine producing regions and the even greater number of indigenous grape varieties and wine blends, it is daunting if not impossible to win in a blind tasting game. How do people do it then?

Most tasters normally start by eliminating half of the world, by going down the Old World / New World route. Because of tradition and winemaking technique, Old World wine (such as France, Italy, Spain, Portugal, Germany, Austria) tends to be more restrained. Reds usually have a savoury characters while whites may have a hint of saltiness (some say minerality). New World wine (Australia, New Zealand, South Africa, the USA, Argentina, Chile) is usually more fruit focused and forward. This is true even for aromatic grapes like Riesling. A German Riesling is more subdued than a Clare Valley one. So if the wine smells of abundant fruit, chances are it is likely to be from the New World.

To get closer to the origin, one needs to know the geography. Wines made in cool or mild climates are likely to have lower alcohol and higher acidity than those from warmer regions. This is because in warmer conditions, grapes ripen faster, accumulate more sugar and lose acidity faster. Sugar is converted to alcohol during fermentation, so wine from hot areas like Southern France will have higher alcohol than the cooler Burgundy. However, there are exceptions. Grapes grown in a continental climate—hot days but cool nights—have both high sugar and high acidity. And don’t forget that water and altitude play a part as well. The ocean has a cooling effect on coastal vineyard areas in Chile, California and Stellenbosch, but brings a milder climate to Bordeaux, while every 100m increase in altitude will see the temperature drop by 0.6ºC.

Combining the above factors, you can narrow the probabilities down quite a bit. Say you are presented a delicate wine with fresh acidity and moderate alcohol; it is likely to be from a cool climate region in the Old World. A wine with pronounced fruit characters but only moderate alcohol is likely to be from a not too hot New World region, possibly Margaret River, or some high altitude vineyards in Chile.

Getting excited? It’s time to study now. You don’t need to be a brilliant taster but you must have the knowledge if you want to get the wine correct. The wine’s structure is what’s most important. Some grapes, such as Nebbiolo, Touriga Nacional and Cabernet Sauvignon always have high tannins, but the first two will also have higher acidity. Merlot, Malbec, Pinot Noir and Zinfandel have both medium tannin and acidity. Grenache, Gamay and Barbera have low tannin but the latter two have much higher acidity than Grenache. Colour also gives some hints. For example, what is a red with pale colour and high acidity? It could be Nebbiolo, Sangiovese or Pinot Noir, but if the tannin is high then it can’t be Pinot Noir. Now, look at the alcohol. If it is over 14%, it is highly likely to be Nebbiolo because Piedmont (where Nebbiolo is grown) has a more continental climate than Tuscany.

Take another example. A near opaque wine with moderate acidity and lush black fruits is probably a New World Shiraz, Merlot or Malbec. If the tannins are obvious but round, and there are jammy and spicy notes, I would put it as a Shiraz above the others. And if the alcohol is 14-14.5%? Very likely a Shiraz from the Barossa.

White wine is similar. It doesn’t have tannin, so acidity and alcohol level are the key factors. White grapes can also be categorised into aromatic ones such as Sauvignon Blanc, Riesling, Viognier, Gewurztraminer, Muscat; or neutral ones like Chardonnay, Pinot Blanc and Semillon. Semi-aromatic grapes include Chenin Blanc, Pinot Gris and Albarino. So an aromatic wine with crisp acidity could be a Riesling or Sauvignon Blanc, but if it has a purity of fruit and alcohol of 13 or 13.5%, it is possibly a New World Sauvignon Blanc. Alsace Riesling could have 13% alcohol but it would be more mineral rather than fruit focused.

Unfortunately—but this is exactly what makes it so interesting—wine is not that black and white. With climate change, flying winemakers and the exchange of winemaking techniques, we are now seeing Old World wine styles made in the New World and vice versa. Some Bordeaux reds, especially those from riper vintages, are more fruit-forward with rounder tannins than the classic ones. The Kumeu River Hunting Hill Chardonnay from New Zealand (available from Northeast) is made in a Burgundian style which, in blind tastings, has fooled many a wine professional into believing it is a premier cru Burgundy.

My belief is that guessing the exact wine is not a very good reason for learning and enjoying wine. What matters is that we understand its quality, its style, its sense of place, and appreciate the effort that the winemaker has put into making it. As long as we follow the logic and know the theory, we won’t be far off in identifying the wine. And so what if we mistake a good quality South African Stellenbosch Cabernet Sauvignon for a Chilean from the Aconcagua Valley?

Abridged version published in the South China Morning Post on 07 February 2013