Whilst Fine Wine Club is not about making money (it actually
costs me money to run), there are some great perks to the job, such as being
able to taste dozens of very high-quality wines in a week.
There are some varieties that are just that little bit more
special to taste than others, and Cabernet Sauvignon, either alone or blended is
one of those. Part of the attraction is that Australia (and Western Australia
in particular) makes Cabernet-based wines that are the equal of any in the
world when assessed for quality as well as value, so the quality of our
tastings can be quite high.
This week was a good one, having reviewed over 40 of
Australia’s best Cabernets, including the current Penfolds big wines. And while
it is easy to write reviews about Tom Cullity, Vanya etc, it was the quality of
the second tier Cabernets from Howard Park (Leston) and Singlefile’s (Single
Vineyard) that gave me the most enjoyment.
Whilst not quite as dense and powerful as their big
brothers, these wines offer that rare combination of being a great drink now,
as well as being capable of being cellared for at least a decade or two. But do
give them an hour in a decanter (or double decant) to let the fruit shine if
you are drinking them young.
Reviewed
Singlefile –
Cabernet Sauvignon – 2017 (17.5/20pts – $25). Fresher and more approachable,
with supple red currant fruit supported by just a lick of savoury oak and
refreshing acidity. Great drinking now – 5 years with grilled meats.
Singlefile – Cabernet Sauvignon – Single Vineyard – 2017 (18.6/20pts – $39). I like this a lot! Excellent quality fruit in the mulberry spectrum has been skillfully matched to subtle, savoury oak. Whilst lithe and approachable, there are plenty of fine tannins, supple oak and balancing acidity to keep this relatively restrained at first, suggesting the ability for extended aging (this was brilliant drinking after two days on the tasting bench). At $39, this is surely a bargain.
Howard Park – Cabernet
Sauvignon – Leston – 2016 (18.5/20pts
– $48). This was actually quite muted to start but really opened up with air. The
palate has fresh berry fruit, silky tannins and savoury oak adding depth but
not overt flavours. The balance that is a highlight, with this wine having the
rare ability to drink just as well now as it will in 10-15 years. Super!
Every year, in London, Sydney and San Francisco, the
Institute of masters of Wine hosts Bordeaux tastings. The biggest of these are
in London, but a very significant number of producers was on show in Sydney
this last weekend.
The format is similar in most years – with wines laid out
according to appellation, with the Left bank and Right bank reds and Botrytised
whites represented. As always, the few select “First Growths” represented – on
a table all of their own, are a sought after highlight.
The vintage was an interesting one, with most critics
agreeing it is the best since the 2009/2010 stellar vintage duo. Vintages in
Bordeaux have been disappointing to an extent since those two vintages. While
there is hype about the 2015 vintage, the 2014s did not disappoint.
I arrived early and saw the wines when they were opened.
Along with Rob Geddes MW and Neil Hadley MW, we checked the wines, giving us
the opportunity to assess them in broad strokes as well.
As a side note, only four bottles were faulty in some way,
out of the two samples each of the 60 wines sent by the Institute. The vagaries
of cork….
My general impressions aligned with comments of others about
the vintage – generally Left Bank Cabernet Sauvignon based wines looked better
than Right bank wines, with Margaux, Pauillac and St Julien particularly
notable. Also, the “usual suspects” shone, as did a few other aspirational
producers – see below. There were some in the aspirational camp who had perhaps
tried a little too hard – so that oak tended to dominate the fruit.
Overall, I thought the vintage was reminiscent of 2008, also
“saved” by some late, fine weather, but would perhaps appeal more to classical
palates – the wines were generally reserved, tight and structured, and though
fruit was present in the background, some years will need to pass for the
tannins to yield.
In less-than-perfect years, it is my view that “terroir” shows through more clearly.
Below is a list of my picks:
There has been much written about Australian Chardonnays
over the years, documenting the changing styles and fashions. In the 1990s the
trend was for big, ripe, buttery Chardonnays, with plenty of oak. This evolved
over the 2000s, with the fruit richness and oak flavours gradually being wound
back.
Around 2010, the pendulum moved to the other end of the
spectrum. Led by key wine critics and winemakers (particularly in Victoria),
the trend was for high acid, early-picked examples, where the fruit was dialled
right back. These wines needed years to show their best and were not always the
most approachable while they were still young.
Throughout this time, Leeuwin Estate maintained a steady
style, producing fine, elegant wines that were capable of extended aging, but
were also great drinking early on. In any given year, the Art Series Chardonnay
is amongst the country’s finest. Given that it has been at the highest level
for almost 40 years makes this one of Australia’s greatest wines of any
variety.
Besides the wines, there was another story that unfolded
during this tasting: the impact of the closure used on the condition of the wine.
There was a marked difference in the freshness of the wines, with those under
screw cap (2003 onwards) far fresher and more consistent than the earlier wines
(of which more than one bottle had to be opened on the night to find a good
example for the tasting).
There were a number of highlights on the night; the 1990,
for example, demonstrated just how well these wines can age (cork permitting).
In terms of sheer quality, there were no bad wines at all,
but a few of the vintages really stood out. The 2000 was great drinking and the
2003 remarkably fresh and youthful. The truly great wines on the night came
from 2005, 2007, 2010, 2014 and 2016.
Reviewed
Leeuwin Estate – Chardonnay
– Art Series – 1990. Honeyed and
rich, yet still with life and balance. The palate is rich, rounded and textured,
with excellent length of flavours. In remarkable condition and great drinking.
Leeuwin Estate –
Chardonnay – Art Series – 2000. Fresh
and vibrant, with peach-like fruit and gentle honeyed notes. The acidity is a
highlight. Almost Chablis in character, with minerality a feature. The palest
colour of the wines under cork, this was considered to be a very good bottle.
Leeuwin Estate –
Chardonnay – Art Series – 2001. What
a shame. Ever so slightly tainted and no back-up available on the night (previous
bottles have been excellent).
Leeuwin Estate –
Chardonnay – Art Series – 2002. Under
cork, this had a golden colour and was very developed. Enjoyable drinking, but
sure to be better bottles out there.
Leeuwin Estate –
Chardonnay – Art Series – 2003. A
notable change in colour and very fresh in comparison. Here, the honey
characters have been replaced by more toasty notes. The acid is muted, but
there is enough freshness to make this great drinking. Lingering toffee finish
a highlight. No rush to drink these.
Leeuwin Estate –
Chardonnay – Art Series – 2004. Wow,
this is a step up in freshness and concentration. Delightful peachy fruit,
subtle toast and balancing acidity. Long and complex, with excellent mouth-feel,
this is vibrant and delicious. Opens with air, developing richness of fruit and
great length and balance. Super wine!
Leeuwin Estate –
Chardonnay – Art Series – 2005. Lighter
colour, and even fresher, the ripe fruit here is absolutely superb. The palate
is fine, elegant, and balanced, with great acid structure and length. Restrained
and youthful, this has a decade ahead of it, but why wait? A vinous highlight.
Leeuwin Estate –
Chardonnay – Art Series – 2006. A
touch more colour compared to the ‘05 and ‘07, this has more toast, but less
fruit. That said, it still has good acidity. Generosity of flavours makes up
for the longevity, but probably best to drink this vintage sooner than later.
Leeuwin Estate –
Chardonnay – Art Series – 2007. Wow.
This is spectacular. Delicate, refined and supple, yet this has power to boot. There
is superb fruit, balance and mouth-feel. Restrained, but all components are in
harmony and there is great length of flavours. An ethereal wine that has a
brilliant future.
Leeuwin Estate –
Chardonnay – Art Series – 2008.
Amazingly, this tastes like it was released just yesterday. Taut and fresh,
with high acidity. With air, this opens and shows a touch of lime notes. Easy
to be overlooked next to the 2007, but a lovely wine that has real potential.
Leeuwin Estate –
Chardonnay – Art Series – 2009.
Unfortunately, this wine could not be found on the night.
Leeuwin Estate –
Chardonnay – Art Series – 2010. What
a beautiful wine. Fine, elegant, refined and supple, yet the balance is the
best of any wine to date, making this also the best drinking. With finer
acidity and brilliant fruit, this will be even better in 10 years. One of my
wines of the night.
Leeuwin Estate –
Chardonnay – Art Series – 2011. A
little more restrained than the 2010, this needs a few years to really open up.
Again, the balance is brilliant, with fine grapefruit-like acidity and supple
peach and nectarine fruit. Youthful vitality and richness, with excellent fruit
weight but give it time.
Leeuwin Estate –
Chardonnay – Art Series – 2012. Finesse
and poise are the features of this sublime wine. Seamless and restrained, with a
spine-tingling presence. Almost ethereal, there is a nervous tension to the
wine. A little polarising, but a personal favourite.
Leeuwin Estate –
Chardonnay – Art Series – 2013. Melon
and grapefruit to the fore. This is textured, chewy and full of potential, yet
remarkably good drinking already. The finish is near seamless and the acid
balance is a highlight. With air, this starts to develop peachy fruit. Another
great wine.
Leeuwin Estate –
Chardonnay – Art Series – 2014. This
is quite firm and taut. Having said that, the balance is exemplary, with the
acid cutting through the fruit richness. Needs years to show its best, but with
air, the fruit richness builds and you get a glimpse of just how good this wine
is. Will age with grace.
Leeuwin Estate –
Chardonnay – Art Series – 2015. Spectacular,
fine and restrained, yet with depth and power. This is youthful, and needs
years to hit its peak, but there is no doubting the sheer quality of the fruit
underlying this wine. A wine for the long haul.
Leeuwin Estate – Chardonnay – Art Series – 2016. I have written recently about just how good this is, but on the night: More perfumed, with lovely floral highlights. The palate is shy and restrained, with the balance and mouth-feel a highlight. Needs a few years, but this may well be the greatest Leeuwin Chardonnay released to date. A great way to end the evening.
The Porongurups in the Great Southern region of Western
Australia must surely produce the best Rieslings in Western Australia, showing
great purity of fruit and outstanding balance. Whilst they lack the long
history of the great Clare Valley Rieslings (such as Grosset and Leo Buring),
they are challenging the quality. The other region to also star with Riesling
in the last few years is Tasmania, but precious few of those make it to WA.
One producer that has consistently made high quality Riesling
from the region is Howard Park. Over the last few years, their Porongurup
Riesling has consistently been a star. The 2018 vintage is no exception,
resulting in a perfumed, floral wine with great aging potential.
The real surprise of the tasting however, was the 2018 Flint
Rock. An irresistible wine that has the ability to change how people perceive
Rieslings.
Reviewed
Howard Park – Riesling – Flint Rock – 2018. (18.5/20pts – $28). Pretty floral notes over a core of slate-like minerality. In the mouth, this is a delight, with the floral fruit flooding the palate, with hints of tropical fruit and talc. The palate transition is quite remarkable, with the fine lemony acid only making its presence at the very close. A wine that has the potential to bring new fans to the variety.
Howard Park – Riesling – Porongurup – 2018 (18.7/20pts – $35). Similar floral aromatics to the Flint Rock, though this is a little more restrained and less obvious initially. The palate is fresh, light and pristine, with the perfumed aromatics building over time. It is the depth of fruit that sets this apart from its siblings and is a wine for the cellar.
Personally, I would rather drink a white wine rather than a
Rosé
in general, but every now and then, a wine comes along to challenge my
perceptions. The Red Knot Rosé is one of those wines. The label says
“Crisp and Dry”, and this wine fits that description perfectly.
The other surprises this month came from wines made with
Tempranillo. There is growing interest in this Spanish variety here in
Australia, and the reviewed wines demonstrate two distinct styles of wines that
are worthy of attention.
The Paxton is delicious drinking, with pretty red berry and
floral characters, whilst the Singlefile is a more structured, savoury style
worth of time in the cellar. At $25 each, they also represent good value.
Reviewed
Shingleback – Rosé – Red Knot – 2018 (17/20pts – $18). A blend of Pinot, Shiraz and Grenache. Very pale and quite savoury. The refreshing acid carries the fruit on the palate, giving the impression of a bone-dry finish. There is decent length and mouth-feel, ensuring that this would be great with food. The label says “Crisp and Dry” and this fits the bill perfectly.
Paxton – Tempranillo – 2018 (17.7/20pts $25) Pretty red berry and floral fruit notes on the nose. The palate is bright and fresh, with delicious savoury fruit coating the palate and building in layers. The tannins and acidity keep things fresh, making for a great drink. Pizza or pasta – the choice is yours.
Singlefile – Tempranillo – 2017 (18.1/20pts – $25). Much more depth than the last, but also less accessible now. The savoury fruit is structured and textured, and gets a little chewy on the palate. This will accompany food well now, but will be better with a few years in the cellar. Good effort.
Margaret River has a reputation for producing some of the
greatest Cabernets in Australia, if not the world. So it came as no surprise to
the panel that the 2016 Cape Mentelle Cabernet is a truly outstanding wine.
But it was the quality of the entry-level wines from Cape
Mentelle and Vasse Felix that delighted the panel. They both make for great
drinking now, but are also worthy of time in the cellar to allow the wine to
evolve.
Also included in this review is the Cape Mentelle Zinfandel,
a wine of great finesse and elegance, which helps to redefine what this variety
is capable of in Australia.
Reviewed
Cape Mentelle – Cabernet Sauvignon – 2016 (18.8/20pts – $98). Wow, wow, wow, this has it all. Bright, fresh floral fruit and savoury notes from the oak leads into a silky finish framed by fine tannins. A joy to drink now, but sure to age well for a decade or more. Gets serious on the close, with density of fruit, graphite and tar-like notes.
Cape Mentelle – Cabernet Sauvignon/Merlot – Trinders – 2016 (18.5/20pts – $31). Given that this wine is the entry level Cabernet from Cape Mentelle, the quality is nothing short of outstanding. The dense, ripe fruit is a highlight. This is a serious wine, with chewy, structured fruit and savoury, texturing oak and tannins. Remains supple and lithe despite the power, with blueberry fruit building with air. Great now, but also age-worthy.
Vasse Felix – Cabernet Sauvignon (Gold Capsule) – 2016. (18.5+/20pts – $47). Fragrant and pretty, with bright red fruits and gentle cedary oak, but the depth is a step up from the Filius. Very long, this builds real depth in the mouth. Near seamless, though the acidity does build on the finish. Brilliant now, but needs 10+ years to really hit its peak. This includes 11% Malbec and 3% Petit Verdot, aged in French oak (44% New).
Vasse Felix – Cabernet Sauvignon – Filius – 2016. (18.2/20pts – $28). Fresh and supple red berry fruit, with hints of mint on the nose. The palate is fine and savoury, with supple tannins and acid combining on a silky finish. Fresh and approachable, this is such an easy drink now, but has enough depth and Bordeaux-like structure to allow for short to medium-term cellaring. Excellent. Aged for 12 months in French oak, this includes 14% Malbec.
Cape Mentelle – Zinfandel – 2016 (18.5/20pts- $58). This is very impressive. Real depth and power to the fruit, with red berry, cherry, tobacco and spice. The palate is poised and balanced, with a delicious finish. The texturing tannins and medium toast oak adding grip, but also balance. Very impressive , this has a lot of similarities with a high-quality Cabernet.
This week saw the panel try a couple of really smart wines
from Singlefile under the Run Free label. Both the Sauvignon Blanc and
Chardonnay are very worthy wines at around $25 per bottle.
The surprise for me though was the Organic Rose from Angove.
A delicious, food friendly wine at a sensible price.
Reviewed
Moss Wood –
Semillon – 2018 (18/20pts). Almost green tinged, this is very grassy and
herbaceous, with lanolin notes. The palate is fine, though very zesty, with acidity
that, whilst intense, magically allows the creamy, textured fruit to shine.
Would be brilliant now with cured fish or super fresh sashimi, but will also
age well.
Singlefile –
Sauvignon Blanc – Run Free – 2018
(17.5/20 pts – $25). Fresh and vibrant, with grassy fruit over lantana and
tropical notes. Quite intense, with decent texture, this is a smart wine indeed.
The textural components on the finish are a highlight and reflect a portion of
barrel- fermented fruit.
Vasse Felix –
Sauvignon Blanc/Semillon – 2017 (17.8/20pts – $24). Quite a complex nose, with and
hints of fresh tropical fruit and creamy, barrel- ferment aromas. The fruit
really shines on the long palate, complemented by a creamy texture and supple
finish. A quality wine that would make an excellent alternative to Chardonnay
with a mushroom risotto.
Singlefile –
Chardonnay – Run Free – 2017
(17.9/20pts – $25). This has a little wow factor. Creamy, silky fruit and
supple oak meld into a seamless package. The intensity and fruit weight are
note-worthy at this price point. There are hints of pineapple and tropical
fruit, but it is the melon notes that shine through. Fresh acidity ensures a
lively finish.
Brash –
Chardonnay – 2016 (18/20pts). With high quality fruit, creamy, textured
winemaking inputs, and subtle minerality, this reminds me a little of the
Pierro Chardonnay. A richer style.
Howard Park –
Chardonnay – Flint Rock – 2017
(17.7/20pts – $28). Full of nervous energy. Taut yet there is impressive power
to the fruit. Whilst this will be very enjoyable with food now, it will be much
better with a couple of years in the cellar.
Angove – Pinot
Grigio – Organic – 2018 (17/20pts – $17).
Quite creamy and textured with a nutty, chewy finish. Again, the textural components
are more important than the fruit, but there are some fresh stonefruit notes on
the mid-palate. Slightly viscous finish adds interest to this food friendly wine.
Well made, if uncomplicated.
Angove – Rose – Organic – 2018 (17.3/20pts – $17). Fresh
strawberry and plum notes. This is very attractive, with just the right amount
of grip and texture to make the finish complete and refreshing. This feels
relatively dry adding to the appeal. The texture and acid would make this a good
choice with some nibbles on a sunny afternoon.
In a line-up of fine wines, three really impressed the
panel. Each wine took a different approach in expressing its personality, but
in each case, the results were outstanding.
Over time, their personalities will gradually express
themselves allowing the patient to determine the final pecking order, but from
a value perspective the Leeuwin Estate is the pick.
Reviewed
Cape Mentelle –
Cabernet Sauvignon – 2016 (18.6/20pts). Red currant and bright blueberry fruit,
with floral highlights reminiscent of violets. Long and supple, this is a
charming wine now, but there is density to the fruit that would benefit from 10
years+ in the cellar. Pre-release sample
Cullen – Cabernet
Sauvignon – Diana Madeline – 2017
(18.7/20pts). Intense red berry fruit over subtle mint notes. Quality is
stamped all over a palate which is long, refined, supple and elegant. Will
build depth with time in the glass or a decade in the cellar. A sublime wine of
great charm.
Leeuwin Estate –
Cabernet Sauvignon – 2015 (18.7/20pts). Intense, with laser-like focus, the powerful
fruit has been paired to fine oak and winemaking. Very long, with taut acidity
and fine, if prominent tannins. Needs a decade or two in the cellar, or an hour
or two in a decanter. Due for April Release.
Evans & Tate has had a chequered history. Established by
the Evans and Tate families in 1974, the original Redbrook vineyard was planted
in 1975. In 1983 the partnership broke up, with the Tate family taking control
of the winery.
The winery then underwent a period of sustained growth, culminating
in a listing on the Australian Stock Exchange in 1999.
After apparent initial outperformance in 2005, things
started to unravel, with mounting debt and unsold inventory (an interesting
review of this was published in the Financial
Review at the time). This culminated with the appointment of receivers and
the subsequent sale of the winery to McWilliams Wines in 2007.
A new chapter for Evans & Tate began in October 2017,
when the winery was purchased by the Fogarty Wine Group, who also owns wineries
such as Mill Brook, Lakes Folly and Deep Woods.
Through many of the changes, one constant was the presence
of Matt Byrne as chief winemaker. Matt started in 2001 and has consistently
produced quality wines, despite the ownership changes, with the current wines
in the premium range being amongst the best the winery has produced.
The staff are really enjoying the transition to Fogarty Wine
Group and, if anything, the wines are only likely to get better.
A winery to watch!
Reviewed
Evans & Tate – Chardonnay – Breathing Space – 2017. ($16.15 ex cellar door). Taut and fine, this is made in the modern style, with gentle wine-making inputs and subdued fruit. With air, this wine really shines, showing fine fruit framed by the subtle oak and barrel ferment characters. The texture and acidity on the close are a highlight. Excellent value.
Evans & Tate – Chardonnay – Redbrook – Estate – 2017 ($36). Fine and taut, with attractive stone fruit aromas leading to hints of grapefruit and pineapple. The palate is a treat, with the supple fruit absorbing the oak and lees work easily, rendering the palate near seamless. The finish is lithe and fresh. Delicious drinking now – 5 years. (Spends 7 – 10 months in 100% new oak, barrel ferment, on oak, wild yeast ferment).
Evans & Tate – Chardonnay – Redbrook – Reserve – 2015 (Pre-release sample). Lovely nose that is at once complex and complete. The palate is a tour de force, with powerful fruit in the grapefruit and melon spectrum, complex flinty/mineral lees characters and creamy texturing oak. The acidity is a highlight on the finish, conferring great drive to the palate. Slightly chewy to close, this will be a treat over the next 5 – 7 years.
Evans & Tate – Chardonnay – Redbrook – Reserve – 2014 ($65). Honeysuckle, melon and zesty grapefruit notes. The palate is taut and reserved, more so than the 2015. Lanolin, minerals, driving acidity. A taut, shy wine right now, this is worthy of spending years in the cellar to let the fruit express.
Evans & Tate – Shiraz – Redbrook – Estate – 2016. An explosion of super sweet fruit in the plum and red berry spectrum, with spice notes building in the glass. The palate is flooded by white pepper and spice, with the structural components keeping the fruit in check. A very impressive wine that, whilst delicious now, will be much better in 10 years’ time (fruit cold soaked with a proportion of whole-bunch).
Evans & Tate – Shiraz – Redbrook – Reserve – 2013. More restrained and reticent than the Estate. The palate is sophisticated and complete, with hints of mint, vanilla and supple spice. Only 20% new oak, but this makes an impact in a positive way. A textural treat that is sure to age well.
Evans & Tate – Cabernet Sauvignon/Merlot – Redbrook – Estate – 2016. Again, lovely fruit on show here. Ripe and polished with fine, texturing oak, supple tannins and fresh acidity. Also shows a touch of eucalypt and pepper on the finish. The finish gets a little grippy to close, which will soften with time in the cellar. Will be great with a juicy steak now.
Evans & Tate – Cabernet Sauvignon – Broadway – 2017. Supple, medium bodied, savoury. Fruit is the focus here, with little in the way of oak. An approachable food-friendly style with eucalypt highlights and fresh acidity that cleanses the palate.
Evans & Tate – Cabernet Sauvignon – Broadway – 2016. Similar in style to the 2017, but with a little more richness and depth to the fruit. The balance is the key here. Again, a very food- friendly style, but also one that will do well with short-term cellaring.
Evans & Tate – Cabernet Sauvignon – Redbrook – Reserve – 2014. Wow, the step up in intensity and power is palpable in this wine. It is crammed full of blackberry and blackcurrant fruit, with firm tannins and driving acidity. Textural, chewy and complex, with spice from the oak and gentle herbal, eucalypt notes. A wine of presence and power.
Evans & Tate – Cabernet Sauvignon – Redbrook – Reserve – 2013. Inky, intense, powerful and brooding, with chewy tannins. Tight, structured, very long, with the oak barely noticeable. Needs a decade to open and will continue to improve for many more years, yet you can already see the quality of the fruit open up with air.
Evans & Tate – Cabernet Sauvignon – The Evans & Tate – 2014. Tangibly different from the Reserve. Supple, fine, silky, fresh, lithe and restrained, yet this manages to remain approachable. The integrated tannins help confer a seamless finish. With lots of air, the fruit characters start to shine. This is a superb wine that is a delight to drink, but also sure to age well.
Wine quality is difficult to
define, but is often spoken about in terms of the degree of complexity of wine
bouquet and flavours, the length and persistence of these flavours on the
palate, the intensity of aromas and taste, and the overall balance of the core
elements of the wine. These core elements, depending upon the style of wine,
variably comprise alcohol, acidity, fruit flavours, tannins and sweetness. This
notion of balance is also key to the concept of ageability, or the age-worthiness
of a wine, though this multiplex issue is also linked to other aspects of
quality mentioned here. In addition, we might infer a wine’s quality by the
quality of oak we perceive in the wine, acknowledging the cost associated with
the use of high quality barrels (though aforementioned balance is also salient).
The development of a wine as it sits before us in the glass, when it evolves to
emanate varied primary, secondary and even tertiary aromas, also adds to our
enjoyment and appreciation of a wine.
The notion of the “typicity” of a
wine is often viewed as one of the indicators of a wine’s quality. By this is
meant the degree to which a wine is representative, “classic”, distinguishing,
prototypical, even archetypal, of a particular wine. Though sometimes referred
to a variety, the term more fittingly describes, I believe, the “whole package”
– of variety, style, winemaking, origin – dare I say, terroir. We speak, therefore, of “typical” Chablis, as having
flavours of oyster shell and shale, and a mineral acidity matched by pristine
citrus fruit. We might speak of a wine as being “quintessential” Meursault, and
point to why it may differ, for example, from a Puligny Montrachet of comparable
quality and vintage.
Yet these notions probably best apply
to the so-called “classic” regions. Typicity is a term we could safely ascribe
to wines from Bordeaux, Burgundy, the Mosel, Rioja – I could go on. But what
about New World winegrowing regions?
Is the task of a New World
winemaker crafting, shall we say, a Chardonnay, to make it in a style that
emulates the best white Burgundies? Why not Chablis, for that matter? Or is the
task of the winemaker to put their stamp on a wine, so that it is the most
honest and faithful example of the fruit of the region?
Of course, even if the latter is
true, winemakers might vary in their view of how best to achieve the aim of
showcasing a region’s fruit… WA’s own Millbrook Viognier has exquisite varietal
faithfulness, but is unlike any other Viognier in the world. Brazenly
un-Condrieu-like yet superbly representative of terroir. Should it be regarded as a “typical” West Australian
incarnation of the variety?
These questions are becoming more
difficult as winemakers around the globe adopt new and varied techniques – New
World winemakers can make wines in an “Old World” style. Old World winemakers,
assisted in part by global warming, can make wines in a “New World” style.
So where does the concept of
typicity come into play? We speak of “modern” and “traditional” Rioja; “modern”
and “traditional” Barolo; as though both incarnations have an innate
“typicity”. Yet winemakers in modern and traditional camps can be as varied in
the techniques employed within as without of these categories. Often this
“modern” and “traditional” distinction boils down to the use (or not) of new
oak and/or protective handling.
Even in “classic” regions, such as
Burgundy, winemaking techniques vary immensely between producers. Do we assess
the notion of typicity by the final product, the grand Gestalt of all the wine offers?
The perspective of history is also
important. In the mid 1800s, after Sir James Busby had brought the first vines
to Australia, Barolo and Barbaresco were still sweet wines. Amarone, as a style,
in terms of the very long history of wine, is a relative newcomer on the scene,
yet has qualities that are now said to be “typical”…
And what of innovators within the
“classic” regions? A winemaker in the Mosel who wishes, let us say, to ferment
Riesling to dryness, in new French oak barrels? Or the Margaret River producer
who feels Cabernet Sauvignon from the region is best expressed through the
employ of amphorae?
At some point, innovation can
become accepted practice, and even orthodoxy. Though clearly not always…..
A cautionary word – we as humans,
seek novelty as much as familiarity. In the chase for novelty, those other
aspects of quality I listed at the start of this article should not be
forgotten. Just because something is “different” or “trendy” does not make it
“good”. There are clearly reasons winemaking in Burgundy has evolved to where
it is now. So perhaps thoughtful innovation is the key, with dangers lurking on
both sides – of staying stuck in out-dated practices, and of changing for
change sake.
And who decides what is a quality
wine anyway? Perhaps that is a subject best left to another musing.
