What springs to mind when you think of Bordeaux? Probably châteaux the size of medieval palaces, formal dinners, and rows and rows of pristine vines, neatly manicured rose bushes the only other signs of plant life. What you’re unlikely to be imagining are cow horns stuffed with manure buried in the ground, or horse-drawn ploughs churning through earthworm-rich soil. ‘In the past, in Bordeaux, you were scared to say you were growing biodynamically,’ says Corinne Comme, who manages 10ha of biodynamic vines at Château du Champ des Treilles in Entre-Deux-Mers with her husband Jean-Michel. ‘Now it’s trendy.’ An engineer and geologist, Jean-Michel Comme was behind the first transition of a grand cru classé estate on Bordeaux’s Left Bank to biodynamics. Although he and Corinne first came across the concept in the mid-1990s, he didn’t begin to advocate for the approach at Château Pontet-Canet in Pauillac until the early 2000s. ‘Corinne was scared,’ he recalls. ‘She thought they would fire me.’ "Behind the more esoteric elements is a series of principles that have been shown to improve soil health and vine strength" Originally laid out in a series of lectures by Austrian philosopher, scientist and social reformer Rudolf Steiner in 1924, biodynamic farming emerged as a holistic approach to agriculture before quickly evolving into formal certification movements. At its core, biodynamic farming centres on soil health and biodiversity; most distinctively, it operates according to the lunar calendar, with practitioners timing agricultural activities around specific ‘fruit days’, ‘root days’, ‘leaf days’ and ‘flower days’ to align with cosmic rhythms believed to influence plant growth and agricultural processes. For many in Bordeaux – Jean-Michel Comme included – this all sounded a bit wacky. ‘I was young, full of expectations about chemistry; the way biodynamics was presented was so remote that I felt it was crazy,’ Comme says. ‘But with experience, we did change our minds.’ Why? Because behind the more esoteric elements is a series of principles that have been shown to improve soil health and vine strength. In vineyards, biodynamic farming means specific practices such as hand-harvesting, using natural composts made with specific herbal and mineral preparations, avoiding chemical fertilisers and pesticides, and treating the entire vineyard as a self-sustaining ecosystem. In the cellar, there’s an emphasis on minimal intervention, using native yeasts, avoiding commercial additives, keeping sulphur use to under 70ppm, and employing gentle pressing and ageing techniques that respect the wine’s natural development. While biodynamics took root in regions like the Loire and Burgundy in the 1990s, biodynamic winemaking in Bordeaux largely began in the new millennium, with just two early St-Emilion exceptions: Château Meylet, which has been practising it since 1987, and Château Fonroque, experimenting since 1995 with direction from Loire legend Nicolas Joly. This delay largely stemmed from two factors. First, Bordeaux’s humid maritime climate means that vines are especially vulnerable to both downy and powdery mildew, making the avoidance of synthetic fungicides a risky business. Second, large châteaux with multimillioneuro operations were reluctant to abandon the technological viticulture and winemaking that had built their global reputations in the first place. Comme, however, was convinced of the virtues of biodynamics. He began by seeking the assistance of François Bouchet. The Loire Valley winemaker was one of the first in France to pioneer biodynamics, also consulting for Domaine de la Romanée-Conti, Domaine Leroy and Domaine Leflaive in Burgundy. Bouchet guided the transition to biodynamics at Comme’s Château du Champ des Treilles; then, he persuaded Château Pontet-Canet owner Alfred Tesseron of its merits. In 2004, it was trialled on 15ha (about 20% of the estate’s total growing area) of the fifth growth at which Comme was also technical director. A severe mildew outbreak in 2007 led to the use of pesticides, undoing three years of progress, but it then became a crucial lesson that strengthened their long-term commitment to biodynamics. ‘They believed the fruit had more expression, more brightness,’ says the current technical director at Pontet-Canet, Mathieu Bessonnet, who reveals that they converted the whole of the growing area soon after. ‘It’s obviously much more difficult, time-consuming and expensive, so it was very risky,’ he adds. Since then, biodynamic farming has become a significant and growing practice across different classed growths in the region, with some of the most prestigious estates – such as Château Latour and Château Palmer – adopting biodynamic methods (the latter certified). ‘The link between the wines and the place where the fruit came from had become less and less obvious,’ says Château Palmer’s technical director Thomas Duroux, commenting on the region’s turn to the trend. He notes that, since the noughties, many have adopted organic practices in a bid to reverse this perceived drop in terroir definition. ‘Biodynamics is, in a way, the same story as organic farming, but with a larger vision,’ he adds. This shared perspective has led to more cooperation between practitioners. Every spring, the Médoc branch of the Biodynamic Agriculture Movement gathers at Château Ferrière. After unearthing a thousand manure-filled cow horns and replacing them with silica-filled ones (a process reversed in autumn to produce preparations 500 and 501, required for Demeter certification), participants share wines and gardengrown salads. The humus removed from the cow horns is stored in a cold, damp facility and made available to members. ‘We do that for free,’ says Claire Lurton, owner of Château Ferrière. ‘It’s a community.’ Though ‘community’ might be too strong a word for some, these gatherings symbolise a deepening professional exchange that has emerged among estates of all sizes through the practice of biodynamic winemaking. In fact, the shift among the classed growths has happened at the same time as these practices have been adopted by smaller growers arriving in the region. Christophe Landry of Château des Graviers, for example, returned to Arsac in the 1990s and began practising biodynamics around the same time as Comme at Pontet-Canet. He’s consulted for the Lurton estates and other properties. Originally from Minervois in Languedoc, Michel Théron established Clos du Jaugueyron nearby and has been certified biodynamic since 2008, while Laurence Alias and Pascale Choime – who are both from southwest France – established Closerie des Moussis, a patchwork of sites across 2ha, including a 170-year-old pre-phylloxera plot leased from Théron. On the Right Bank, other producers began switching lanes even earlier. Le Puy, owned by the Amoreau family, began practising in 1998, with certification since 2013, and Château Gombaude-Guillot in Pomerol has been certified biodynamic since 2006. While larger estates like Latour and Palmer collaborate on issues like mildew, smaller producers tend to engage more with one another. Shared biodynamic practices, however, are definitely helping to break down barriers. For example, Château Haut-Bages Libéral maintains regular communication with its neighbours at Château Latour, and the son of Théron at Clos du Jaugueyron interned at Château Palmer for two months. Can we speak of a unity of praxis? Not exactly. There is considerable variation in which aspects of biodynamics winemakers emphasise, regardless of estate size. The primary aim across the board is achieving living soil with rich biodiversity to promote deep-rooted vines. In pursuit of this, some winemakers emphasise tree growing or cover cropping (like Haut-Bages Libéral, which also recently planted a variety of local and fruit trees). Others, such as Le Puy, let nature take its course, allowing a diverse array of plants and flowers to sprout from the earth. Whether certified or not, biodynamic practitioners throughout Bordeaux use homeopathic treatments like nettle teas for the vines – they are believed to stimulate soil health, enhance plant immunity and improve nutrient uptake. More important than any of this, however, is the concept of energy. How can the energy of the plant be retained as its raw material transforms into wine? Every winemaker I visited was at least intrigued by the concept – and most were captivated. After a few days in the sometimes eerily flat Médoc, I drive through the verdant hills of St-Emilion to Le Puy, arriving with a raised spirit. Standing before a 5,000-year-old Celtic cromlech, Harold Langlais, the estate’s director, tells me, ‘Le Puy is a place of energy and life,’ pointing to its deep history as an intersection of water springs. At modern-day Le Puy, this philosophy extends from the vines to the cellar. Indeed, many others I speak to express that, since adopting biodynamics, the most striking change in their wines has been an increase in ‘energy’. It’s a term without a precise definition, but according to Château Palmer’s makers, something shifted with the 2015 vintage, the second year after full conversion. ‘You cannot measure it,’ Thomas Duroux says. ‘You can just feel it.’ At Château Durfort-Vivens, where the vineyard was operating under biodynamic principles by 2013 (with full conversion by 2016), owner Gonzague Lurton recalls the 2014 vintage as ‘the first where you really feel the energy of biodynamics’. It’s tactile and warming, with a sophisticated grip and charm. ‘It’s what I love – the linearity of tannins, never weak from start to finish. With many of the estates I visited, their wines showed an immediate appeal, vibrant even in their youth. Is energy just another way of describing freshness? Laurence Alias at Closerie des Moussis trained as an agricultural engineer; for her, energy and vitality are tied to the physical properties of grapes grown biodynamically. ‘We have more acidity, that’s an analytic fact,’ she tells me, standing in front of a newly acquired plot of vines bordered by forest. It might be romantic to think of energy as something ineffable, but it’s also rooted in what remains within the grapes. ‘Our idea of energy is based more on Einstein than Steiner,’ Langlais later qualifies. ‘Energy is matter.’ Biodynamic winemaking in Bordeaux: five to follow Château Pontet-Canet At the 55ha Pontet-Canet estate in Pauillac, an immensely smooth operation is palpable. Winemakers here have spent almost two decades honing their biodynamic craft, continually moving towards a goal of self-sufficiency for the estate. Sturdy Comtois horses, introduced in 2008, now work half the vineyard, preventing soil compaction. Vineyards are sprayed over a single day using compost and herbal teas produced from plants grown in and around the property and processed in the state-of-the-art infusion room. Biodiversity-boosting fruit trees and hedges have been planted. The estate even employs a carpenter who repurposes wood from vats used on the property. Ageing involves custom-made wooden eggs and qvevri-style amphorae, with no fining and minimal filtration. The result? A Pauillac with untypical levels of energy and minerality, and a plush, velvety texture. But it’s more than that – according to Bessonnet, thanks to a low-intervention approach across the board, ‘you can really feel the soil.’ Château Palmer Thomas Duroux’s conviction in biodynamics is based in what he calls a ‘holistic vision’. ‘We started to see the entire place as a living organism,’ he says of Château Palmer, one of the most storied and historically significant third-growth estates in Bordeaux. When converting (a process that started in 2009), the Margaux estate was initially guided by François Bouchet’s son Matthieu, but now it follows its own evolving philosophy, integrating cover crops, animals for fertilisation and estate-grown vegetables and meat. ‘It’s just going back to agricultural common sense,’ Duroux says. ‘That was the way to grow anything before World War II.’ This respect for nature results in wines that are deeply tied to their terroir. ‘If I had to describe the wines how they are today, compared to how they were before, I’ll just say that it’s not a revolution, but we have the feeling that the wines have a better identity,’ says Duroux. He likens biodynamics to restoring an old painting: ‘Suddenly, you see small details that you were not able to see because of the dust.’ The estate uses stainless-steel vats for fermentation and temperature-controlled rooms for barrel-ageing, combined with nativeyeast and low-sulphur winemaking, to produce its esteemed Alter Ego and Château Palmer cuvées; both have been increasingly celebrated among critics and drinkers since the turn to biodynamics. ‘We just think it does help to go a little bit further in the interpretation of the place,’ says Duroux. Château Durfort-Vivens Standing over a rustic sorting table explaining how it used to work, Gonzague Lurton is visibly passionate about the savoir-faire of the past. This sensibility is reflected in the current winemaking practices, too, and in the second-growth Margaux estate’s reputation (and critics’ scores) increasing year on year. The thing to emphasise is that what began with a biodynamic approach in the vineyards led to a series of domino effects that changed the character of the wines. In search of what Lurton calls greater ‘singularity’, the proportion of Cabernet Sauvignon had already risen to over 90% by 2014 (from around 75%); and with the use of indigenous yeasts during fermentation and the reduction of sulphur levels over time (initially sparked by Demeter’s upper limits of 70mg/l), the wines have become more aromatically complex and expressive. The introduction of amphorae by Italian producer Tava has allowed for microoxidation without overextraction, contributing to a more delicate balance of flavours, with the 2019 estate wine a blend aged one third in amphorae and the rest in barrel. ‘It’s not a big wine,’ says Lurton. ‘And it’s what I was looking for with biodynamics, in terms of style.’ Château des Graviers Christophe Landry’s pioneering status in Margaux stems from an instinct refined over decades at his own estate. He grows medicinal plants — horsetail, absinthe, calendula, chamomile — for vineyard treatments, as well as using the manure from his own cows. ‘What we need to remember is that biodynamics isn’t just a practice,’ he tells me. ‘It’s about finding your own path to self-sufficiency.’ His precision extends to the cellar, where he uses concrete tanks, amphorae and oak barrels (produced according to the biodynamic calendar) tailored to each of the five cépages’ oxygenation needs, then ages the wines for different lengths of time. Timing is everything, with harvest choices also following the biodynamic calendar. Obsessive care for the vines’ life cycles goes hand in hand with the level of precision in the cellar. The outcome is two phenomenal wines that are, as Landry puts it, ‘thirstquenching’. Château des Graviers and Quintessence — which contains a higher proportion of Petit Verdot and is aged longer in barrel and amphorae — are aromatically expressive, velvety and strikingly lively, with the latter offering more depth and an enveloping finish. Expanding to 18ha, Landry has also turned his focus to Clos Dufourg, cultivating vines on previously wild land nearby and hand-building a striking new cellar with cement tanks painted with clay from the surrounding earth. Le Puy For technical director Harold Langlais, the Le Puy estate’s significance lies in how it challenges Bordeaux’s conventional identity. Outside of the region’s traditional focus on appellations and classifications, Le Puy sits on a plateau near St-Emilion. The estate’s land is unusual, with no topsoil but a deep limestone bedrock beneath red-brown clay, which forces the vines to develop deep roots to access the earth’s natural water and nutrients. This is further supported by horse-ploughing and biodynamic sprays made from horsetail, buckthorn and nettles, which grow on the property. ‘Our approach focuses on rooting the vine deep,’ Langlais explains, ‘encouraging it to search out hidden nutrients.’ A vigorous wind circulates around the vines, and Langlais explains the effects of the elements. ‘The beauty of Le Puy is that it’s an acid factory. The whole place creates acidity in the berries.’ The biodynamic philosophy extends to the winemaking, with two different processes applied to their 100% Merlot cuvées. Cuvée Emilien uses a ‘decantation method’, or ‘fermentation by infusion’, while Barthélemy is produced with zero sulphites and a process of lees-stirring called ‘dynamisation’, which is done on fruit days and involves a specific motion to create a vortex in the old barrels it ages in. ‘Barthélemy is much more intense,’ Langlais says. ‘All the matter taken by the plant is in there.’

Written for Club Oenologique in 2025, Joel Hart visits Bordeaux to track the region’s belated embrace of biodynamic winemaking. While other French regions ploughed ahead, Bordeaux had its reasons for delayed adoption. Yet now the practice is booming, and Hart gauges its employment across estates.

Written for Club Oenologique, contributor Joel Hart visits Bordeaux to track the region’s belated embrace of biodynamic winemaking. 

Taking root: the rise of biodynamic winemaking in Bordeaux

Molto tempo fa abbiamo strappato le viti dal loro habitat naturale. Rampicanti entusiasti, i loro tralci e viticci sono fatti per aggrapparsi a qualsiasi cosa trovino mentre crescono, avvolgendosi intorno ad alberi o altre piante in natura. Ma noi abbiamo trascinato le viti fuori dalla foresta e le abbiamo costrette in rigidi sistemi di allevamento, domando la loro crescita disordinata per ottenere un raccolto che servisse ai nostri scopi. Ora, però, c’è un movimento che mira a reintegrare alberi e piante nella viticoltura. 
 Cheval Blanc è uno dei più noti sostenitori dell’agroforestazione, che rappresenta una parte fondamentale del suo manifesto per un approccio moderno alla viticoltura. Augustin Fromageot – che oggi lavora a tempo pieno presso il Domaine Belargus in Anjou – è stato uno dei membri del team coinvolti nel progetto, durante il quale sono stati piantati oltre 4.000 alberi nella tenuta in due anni. Fino ad allora, Fromageot – geologo di formazione – aveva lavorato in Sud America, principalmente nel settore del cacao e del caffè, ma la vite lo stava chiamando. Il team trasformò la tenuta in una sorta di laboratorio – sperimentando diversi modi di integrare gli alberi: tra i filari, al posto dei filari, in boschetti, ai bordi o in qualsiasi altro modo si potesse immaginare di piantarli accanto alle viti, tutto monitorato da programmi scientifici per capire cosa funziona e cosa no. Ora fa qualcosa di simile a Belargus, gestendo la loro ampia riserva naturale e lavorando per aumentare la biodiversità della tenuta – impegnandosi a gestire il paesaggio, come lui stesso lo definisce. È un’eccessiva semplificazione suggerire che le viti siano passate direttamente da rampicanti selvatici a monocolture industriali. Storicamente, l’agricoltura era policolturale, e ogni piccola fattoria conteneva tutto ciò di cui una famiglia aveva bisogno – e spesso anche le viti ne facevano parte. Il sistema a pergola, per esempio, permetteva di piantare altre colture sotto le viti, mentre l’uso di alberi come traliccio vivente non era raro – spesso descritto come viti maritate, il metodo romano degli arbusta (prediletto, per esempio, da Plinio) – e coltivate insieme, culture en hautain, cultura mista o joualle. È quest’ultimo metodo, diffuso nel sud-ovest della Francia circa un secolo fa, che Cheval Blanc ha in parte riscoperto, sostituendo singole viti con alberi all’interno dei filari. L’aspetto è magnifico, ma comporta le sue complicazioni, limitando la meccanizzazione. È, come dice Fromageot, un modo “poetico” di integrare gli alberi. In Bolivia si trovano ancora viti allevate sugli alberi, nella Valle di Cinti (come nel progetto Jardín Oculto), anche se si tratta di esempi antichi – e oggi pochi pianterebbero viti in questo modo. È un metodo impraticabile per l’agricoltura moderna, che funzionava solo su piccola scala, ma è evidente che l’industrializzazione ha spinto le monocolture troppo oltre – e l’agroforestazione è uno dei modi con cui i produttori stanno cercando di rimediare ai danni causati. 
 Gli alberi sono straordinari sotto molti aspetti, ma possono avere un impatto enorme su un vigneto. La loro presenza fisica può influenzare il microclima – proteggendo la vigna da gelo, calore e vento, oltre a fungere da barriera fisica tra proprietà confinanti – impedendo che eventuali trattamenti indesiderati raggiungano le proprie viti. Aumentano la biodiversità – offrendo un habitat a insetti e animali, in particolare ai pipistrelli – e assorbono anidride carbonica. Riducendo l’erosione del suolo (con l’erosione dello strato superficiale che rappresenta una minaccia enorme per l’agricoltura mondiale) e aumentando la materia organica, migliorano anche la capacità del suolo di trattenere l’acqua – un vantaggio importante nelle regioni aride. Per Fromageot, gli alberi contribuiscono a creare resilienza nel vigneto, rafforzando le difese naturali delle viti e riducendo quindi il numero di trattamenti necessari. È facile guardare un elenco del genere e comprendere i principi in gioco. È chiaro che i benefici per l’ambiente sono molti – ma cosa significa tutto questo per il vino nel bicchiere? Potenzialmente, molto. Bastano cinque alberi per influenzare il microclima in un raggio di 100 metri; possono ridurre la temperatura di una parcella anche di 2-3°C, preservando l’acidità, riducendo l’alcol e mantenendo la precisione aromatica. Inoltre, proteggendo il vigneto da gelo o calore estremi e migliorando le riserve idriche del suolo, consentono una produzione più costante, tutti fattori fondamentali di fronte al cambiamento climatico – con condizioni meteorologiche più estreme e un riscaldamento globale crescente. 
 Naturalmente, non è così semplice come sembra. “Ci insegna un’immensa umiltà,” mi dice Fromageot quando inizio a parlargli del mondo dell’agroforestazione, e più specificamente della vitiforestazione. È perfettamente consapevole che l’agroforestazione sia diventata una parola di moda nel mondo del vino – improvvisamente molto trendy. Ma piantare e gestire alberi richiede molto lavoro. Innanzitutto, decidere dove e come piantarli è cruciale. La loro capacità di influenzare il microclima può essere sia positiva che negativa – con la possibilità di creare sacche di gelo, aumentare l’umidità, ridurre il flusso d’aria e quindi incrementare la pressione delle malattie. “Bisogna saper leggere il paesaggio,” spiega Fromageot. 
 Occorre anche decidere quale tipo di albero piantare, così come il portainnesto, assicurandosi che si integri con la viticoltura. La prima cosa che fa Fromageot quando avvia un progetto è visitare tutti i vivai locali per conoscere le varietà autoctone. Gli alberi da frutto sono comuni, ma – come nota – bisogna assicurarsi che abbiano un periodo di raccolta diverso da quello dell’uva per evitare conflitti; lui guarda a mele, pere e prugne in particolare, sottolineando quanto siano più impegnativi pesche e albicocche. In alternativa, aceri, frassini, gelsi, pioppi neri, carpini e tigli possono funzionare bene – essenzialmente alberi che condividono lo stesso tipo di micorrize (i microrganismi che si attaccano alle radici) delle viti. È importante evitare qualsiasi specie che possa contaminare il vino o inibire la crescita – come il noce, che produce una sostanza tossica, la juglone. Gli alberi hanno esigenze molto diverse rispetto alle viti, richiedendo attrezzature e competenze differenti per prosperare, con – per esempio – una fertilizzazione estesa per stabilirsi, poiché necessitano di terreni più ricchi. Ovunque vengano piantati, gli alberi occupano spazio che altrimenti potrebbe essere destinato alle viti, riducendo così la resa potenziale. Inoltre, è un processo lento: ci vogliono circa dieci anni perché gli alberi inizino a influenzare in modo significativo la viticoltura, afferma Fromageot. Tutto ciò richiede tempo e denaro – rendendo l’agroforestazione un lusso che non tutti i produttori possono permettersi, anche se Fromageot ritiene che gli alberi possano essere integrati in modo diverso per chi lavora su larga scala. 
 Alain Canet – agronomo e specialista in agroforestazione – sostiene che reintrodurre gli alberi sia cruciale per l’agricoltura. “Per alcuni suoli è già troppo tardi,” scrive. “Ma per la maggior parte, abbiamo ancora tempo per agire... In termini agroecologici, la transizione verso gli alberi è la transizione verso la vita.” Esistono molte ragioni scientifiche per favorire la vitiforestazione, ma per Fromageot ce n’è una più convincente: il paesaggio radica le persone in una geografia, in un luogo, e questo – sostiene – è essenziale per fare vino di qualità. La bellezza del paesaggio in cui si vive e si lavora ci aiuta a “trovare un senso nella vita”, mi dice. Romantico? Forse. Ma con la scienza a sostegno, è difficile non lasciarsi convincere che gli alberi traccino la via verso un futuro più sostenibile – nel vino, sì, ma anche nell’agricoltura in generale.

L'agroforestazione è l'ultima tendenza che sta conquistando il mondo del vino pregiato, ma perché? Abbiamo incontrato Augustin Fromageot di Domaine Belargus per scoprire perché gli alberi potrebbero essere la chiave per una viticoltura sostenibile.

Agroforestry is the latest trend to take over the world of fine wine – but why? We sat down with Domaine Belargus’s Augustin Fromageot to find out more

Trees and wine: exploring the world of vitiforestry

Mettere radici: il mondo della viticoltura

The spirits market is booming. In October 2019, a bottle of 1926 Macallan FINE+RARE 60-Year Old became the most expensive bottle (of either wine or spirits) ever sold at auction in the world, going for £1.5 million – £300,000 more than the same whisky had sold for a year before.  That record may not have been broken yet, but it’s likely only a matter of time. There was a 33.37% increase in the volume of single malt Scotch whisky sold at auction in 2019, with 143,895 bottles sold, worth close to £58 million – a 41.54% increase on 2018. Over the last 10 years, rare whisky has outperformed every other alternative luxury asset, with 353% growth to 2020 Q2. “The rare whisky market has performed phenomenally well over the last decade, outperforming many other categories. We’ve seen growing demand in premium whisky from clients globally,” says Craig Norton, our Managing Director for the UK and Ireland. In five years, we’ve seen the number of spirits buyers rise by 601%, with spirits sales in the same timeframe growing by 698%.  It’s an exciting time for whisky, with a growing international audience as Scotch whisky exports rise (105% in the last 10 years), especially in developing markets like China (up 323% in 10 years). There are also an increasing number of younger consumers diving into the category nose-first; Sotheby’s first online spirits auction last year saw 42% of buyers aged under 40.  The market has so far been dominated by a handful of the biggest names in single malt Scotch, with The Macallan representing an astonishing 40% of the market by value; however
Japanese whisky isn’t far behind. A bottle of 55-year-old Yamazaki sold for HK$6.2 million (US$795,000) in August last year, setting a new record for the category.  The now-closed Karuizawa has become a cult name among collectors, and had something of a halo effect, as our Head of Spirits David Walters said, “Japanese whisky is still going crazy. We sold the Karuizawa Pearl Geisha 37 Year Old (56.9%) pre-release for £12,500 in bond; just a year later it was going for £24,800. The most expensive single bottle of whisky we’ve sold was a Yamazaki 50-year-old (2011 release), for £170,000.” The last two to three years has, however, seen a shift, with a new focus and interest on not buying just bottles but whole barrels or casks. “The ability to personalise or customise single cask bottling has proven extremely appealing to clients,” Norton says, “However, it’s not simple. Barriers can be a lack of understanding of value, the process of maturation or
reselling, or gaining access to the market.”  “The challenge can be guaranteeing provenance,” explains Walters. “Our preference is always to work directly with the distillery.” The IWSR estimates the value of the Scotch whisky cask market at $40 million – and forecasts a trend for cask sales in other categories, such as Bourbon, rum and other US whiskey. While occasionally we see more mature casks (such as a mature Macallan Sherry butt we sold last year, for £600,000), it is more common to see casks as futures, much like en primeur.  Given the long-term timeframe for producing fine whisky, with the first product often not released for five or 10 years, cask sales have fast become a way for the rising number of new distilleries to build revenue in their early years. It is rare for casks to be sold after the first year of production, however, making them a once-in-a-lifetime opportunity to get in on a new distillery – one that may just be the next big thing. It’s this excitement, Walters says, that should attract buyers who are also in it for the journey. Naturally, “founders’ casks” – as they are known – are finite in supply, adding to their appeal for collectors. The spirits market remains dominated by single malt Scotch – with Brora, Karuizawa, Dalmore, Bowmore and Springbank amongst the most collected names – but consumers are branching out. “We’re beginning to see collectors diversify their portfolios,” says Walters, “discovering premium and collectable rums.” He highlights the popularity of Caroni – a Trinidad distillery, no longer in production, that has parallels with Karuizawa – and Hampden, in particular. Fortunately, Covid seems to be having little impact on sales. Even in the last year, the
market has seen 12% growth; as Knight Frank reports, “Anecdotally, drinkable investment classes have always down well in a downturn, perhaps as their owners have looked to drown their sorrows.” In fact, IWSR data shows that “between 2008 and 2012, global prestige-plus
spirits (generally $100+) grew 82% in volume, and almost 230% in value, [reinforcing]
the resilience of high-end spirits after economic challenges”. Nevertheless, our advice is always to buy only what you are prepared to drink – a worst-case scenario that few wine or spirits lovers find much of a burden. Browse all whiskies or read more Editorial

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In high spirits: market overview

Lebanon's lost legacy: viticulture Despite being more southerly than the great wine regions of Europe, the Beka'a’s elevated altitude on average around 1000m above sea level – means that it’s a full 10ºC cooler than Lebanon’s Mediterranean coastline. The climate is positively European with wet, often snowy winters and warm, dry summers. It’s very well suited to winemaking, a local craft that dates back millennia. Lebanon itself is geographically situated in the cradle of civilisation. It was here, even before
the Greeks and Romans emerged as dominant cultures in the Mediterranean, and the Canaanites (later known as Phoenicians), peace-loving traders from the Levant, established some of the earliest known well-organised cities: the trading ports of Byblos, Sidon and Tyre. Phoenician culture was at its peak between 1500 and 300BC – a period that saw them explore and dominate the Mediterranean, developing trade routes, setting up outposts and cities as far afield as North Africa (Carthage, now Tunis, Tunisia) and the Iberian peninsula (Gadir, now Cádiz, Spain). The word ‘Phoenician’ directly connects the people of the Levant with both an impressive entrepreneurial spirit and an awe-inspiring work ethic. More precisely, it is an exonym originating from ancient Greek that describes Tyrian purple. This highly prized dye was a major export of the Canaanite port towns, in particular Tyre, hence the name. The labour-intensive production of the colour involved collecting the mucous secretions of thousands of sea snails. 12,000 snails yield a paltry 1.5 grams of dye – which is why it was so highly prized and the clothes it coloured were reserved for royalty. Tyrian purple was not the only ingenious product that the Phoenicians exported. Their legacy also includes the invention of glass-blowing techniques, and the development of the very first abstract (non-figurative) writing system (from which the Greek alphabet was derived) is credited to the Phoenicians and their Canaanite ancestors. It was almost certainly developed primarily to keep records of sales and ultimately function as an essential accounting tool. We also have the Phoenicians to thank for the word ‘Europe’ – which comes from their word ‘Erob’ meaning ‘where the sun sets’. While it is thought that the world’s first-ever wine was made over 8,000 years ago in the Caucasus Mountains between the Black and Caspian Seas to the northeast of the Levant, it was the Phoenicians that produced, exported and made famous the ‘fragrant wines of Lebanon’ mentioned in the Bible’s old testament (Hosea 14:7). And with their grip on Mediterranean trade, they marketed it and exported it along with, crucially, the knowledge of how to make it. The agricultural treatises of Carthaginian writer Mago, (thought to be writing around 350 BC) were among the most important early texts in the history of wine to record ancient knowledge of winemaking and viticulture. It’s important to remember the function of wine in society in Phoenician times. It wasn’t just a drink. It was, rather like the Tyrian purple dye, complicated and labour intensive to make, exceptionally highly prized and valuable and not just because of how it tasted – but because of its effect and function.  Biomolecular Archaeologist Professor Pat McGovern at the University of Pennsylvania Museum is a specialist in fermented beverages and his research reveals more about wine in Phoenician life. “The wines of ancient Lebanon and Syria,” he says, “were much more than a technological marvel. They were the social lubricants to break down barriers, stimulate music and the arts and bring people together. They were the supreme religious symbol for prosperity and well-being, in life as well as death. And they were the medicines for dissolving and dispensing botanicals, to rest the weary, relieve pain and cure disease.” Taking their wine to the Pharoahs of Egypt and further west to Portugal to trade it for local silver and tin, Phoenician winemaking equipment has been discovered in Valepeñas in Spain. As Phoenicians established Cádiz (Spain) as early as 1100BC, it is most likely that Phoenician wines – not Roman wines – were the forerunners to sherry. Perhaps the most enduring legacy of these seafaring traders was, in fact, the propagation of ancestral grapevines from the Levant that ampelographers believe gave rise to several modern grape varieties in Europe. According to research published by the University of California-Davis on the Integrated Viticulture Online Database, the French wine grape Mourvèrde may have first been introduced to the wine region of Catalonia around 500BC. By 64BC, Seleucid Syria and Lebanon had been annexed to the Roman empire by emperor Pompey. Peace and prosperity followed as the people of Byblos, Tyre and Sidon were granted Roman citizenship. Trade boomed and new wealth generated from exports of cedar, pottery, jewellery, perfume, purple dye and wine to Rome, enabled an era of widespread construction and urban development. One of the building projects the Romans invested in at this time was the enhancement of the already millennia-old temple complex at Baalbek in the Beka'a Valley. At a site which the Greeks and the Romans referred to as Heliopolis 'the City of the Sun' (where Phoenician god Ba’al had once been worshipped), the Romans rebuilt and reconsecrated the temples to their gods Jupiter, Venus and Bacchus, gods of wine, fertility, ritual madness, festivity, dance and theatre. The 700-acre site remains, to this day, the largest and best preserved Roman temple complex anywhere in the Empire. How the ancients moved the 800-ton quarried stone blocks that form the base of the temples still baffles the world’s brightest engineers. The temple to Bacchus at Baalbek is a monument to the importance of wine in the region, and the site became a symbol of Lebanon itself in the 1960s, thanks to the cultural impact of the Baalbek International Festival. Established in the mid-1950s, the festival brought celebration, theatre, music and dance back to the site through performances by international music stars and, crucially, nurtured and celebrated home-grown talent, perhaps most famously Fairouz and the Rahbani Brothers who became huge stars in Lebanon and right across the Arab world. Lebanon’s potent winemaking heritage is not lost on the makers of Chateau Musar. Far from it. As well as its vineyards in the Beka'a, the winery also grows vines near Byblos and the Hochar family’s charismatic winemaker, Tarek Sakr, is as passionate about the history of the land as he is about the grapes he grows there. “Byblos has been known since Phoenician times as an exporter of cedar wood and wine,” he enthuses. “Vines were cultivated in the hills surrounding Byblos, fermented in stone vats dug into the landscape. Then, the wine was put in Canaanite jars (these were the predecessor of the Greek amphora – yes, Phoenicians invented these too), sealed with resin to stop oxidation, and taken to the harbour for export.” Tarek also tells of a recently discovered archaeological site in the village of Edde a few kilometres from Byblos. “The site suggests that most of the hills near the city have been growing vines for thousands of years. This makes sense as the place where our nearby vineyards are located, on a hill overlooking Byblos, is called Vines Passage. You can smell the history of winemaking here. This is undoubtedly the birthplace of viticulture.” While he has spent many years planting and tending to its vines as an integral part of the Musar winemaking process, Tarek’s knowledge of and connection to the land and its ancient traditions run even deeper than his many years of experience. The result of a DNA test found that he is genuinely of Phoenician descent. It would seem that when it comes to Lebanon’s unrivalled contribution to the world of wine, we still have much to thank the Phoenicians for. Explore more Editorial 

Most of Chateau Musar’s vines are grown in Lebanon’s Beka'a Valley, a fertile plain about 30km east of Beirut, situated between Mount Lebanon on the west and the Anti-Lebanon mountains to the east. 

Most of Chateau Musar’s vines are grown in Lebanon’s Beka'a Valley. We look into the viticultural legacy of the region and the impact of the cultural heritage

The wines of Lebanon

The wines of Lebanon: a phoenician phenomenon

I’ve written this having just finished my second en primeur report for Decanter magazine. Four weeks of intensive tasting, two weeks of intensive writing – Primeurs is both the best and hardest period of the year, exhausting and rewarding. But, where one tasting finishes another one arises: tomorrow, I fly to Canada for a tasting of Bordeaux 1982 wines – with the legendary vintage showcased in 40 top bottles at a charity dinner in Vancouver. Sometimes my life feels like a dream.   Despite not having a background in wine before joining Decanter in 2011, and certainly no family cellar filled with dusty treasures, I became enthralled the moment I was handed my first glass of fine wine – at my desk, no less. “How is this a job?” I thought to myself. Many years of tastings and trips passed, meeting the world’s foremost winemakers and writing about wine in various ways, however the “critic” role (more of an American designation than British, I think) was never one I coveted – and certainly not one I expected to ever have.    The barrier to entry seemed so high, even though I was already working at Decanter, which understandably tended to only use “regional experts” and Masters of Wine, many with decades of experience and often living in their chosen region – something I now fully understand and would encourage any budding wine writer to do.   Skip forward a decade or so and I’m now responsible for Decanter Premium, overseeing the digital strategy for subscriptions and content behind the paywall on decanter.com – and now Bordeaux correspondent too, having taken over from long-time Decanter contributor Jane Anson in July 2021.   When Jane moved on, the question was who would fill the position. A combination of desire on my part and the lure of a challenge (who wouldn’t want this job?), happenstance (in that I had not long moved to live in Bordeaux city, placing me in the perfect location to take up the role), and a shortage of qualified candidates in the region, all seemed to work in my favour.  While Decanter authoritatively covers wines from all around the world (one of its biggest selling points for me), Bordeaux is what we call “heartland content” – and the stats don’t lie. It’s consistently the most-read and paid-for content we produce, by far. From Primeurs to livrable “in-bottle” tastings to estate verticals and incredibly old horizontals, there’s always something to taste, at every price point, in every conceivable style. And with around 7,000 estates, there’s no end of new cellars to see, new vineyards to walk into and new winemakers at the helm.   So there’s pressure, especially writing for the magazine with its expectation of quality and deep understanding. But, there’s also non-stop dynamism, and living here brings the action so much closer, something I never truly understood before. An hour each way from my home, I can be in Saint-Emilion, Sauternes or Saint-Julien.   The Decanter name is hugely respected in Bordeaux and I’m extremely fortunate to have been welcomed so generously and thoroughly. The last 22 months have been spent tasting and visiting estates as much as I can. I’ve done dozens of verticals that have yet to be published, spent weeks with winemakers in vineyards and cellars, talked to consultants about changing styles and négociants about market trends. I took part in my first harvest last year (thank you Cheval Blanc) and my first blending session this year (thank you Nicolas Glumineau, General Manager at Pichon Comtesse).   I've also been inducted into the Commanderie du Bontemps of the Médoc, Graves, Sauternes and Barsac, as well as the Hospitaliers de Pomerol (two historic brotherhoods, now modern-day societies that encourage, support and help promote the wines and winemakers of their respective regions). These are all enriching experiences that are the building blocks of my Bordeaux knowledge.  Somehow I thought having done the 2021 en primeur tastings and report last year (as well as two in-bottle reports since I started – all with around 900 wines sampled each time) the 2022 report would be easier – it wasn’t. Tasting is actually really tough – not only physically demanding and tiring, but mentally exhausting. It goes without saying that experience is helpful, comprehension and context are key for notes and scores, but passion is also a must. I’m building the first two, the latter I still have in abundance.   Despite sometimes pinching myself, looking back there’s a strange sense of destiny attached to my current role. My first ever work trip was to Bordeaux (and I ended up buying an apartment almost round the corner from the hotel I first stayed at). My first fine wine vertical was – amazingly –  of First Growth Ch. Mouton Rothschild with the then brilliant winemaker Philippe Dhalluin at Café Lavinal in Pauillac. My first article was about a Bordeaux panel tasting and I even had maps of Bordeaux vineyards on my bedroom wall in London, something I had forgotten until I came across some old photos recently.   An added bonus, my father only drinks Bordeaux wines so this job definitely earns me favourite child status.  As much as it’s serious and hard work, it’s also huge fun, interesting, glamorous and ever-changing. I think humility and gratitude are important, as well as a genuine enthusiasm to tell the stories of these wonderful wines and the people who make them.  Is the role of “critic” my true calling – above publishing, improvement strategies and brand building? I don’t know. What I do know; I love writing. I love Cabernet (Sauvignon and Franc)! I love mature Bordeaux (and am currently seeking out as much 2001 as possible). I love blind tasting the region’s wines to try and place them in their appellations (despite myriad differences in viticulture and vinification this is somehow still possible – the power of Pauillac, the prettiness of Margaux, the minerality of Saint-Estephe). I love the light in Saint-Emilion at dusk during the summer – is there a more romantic wine region?    But most of all, I love the joy and passion surrounding winemaking – not limited to Bordeaux, but the family histories, long-standing traditions, connection to gastronomy, focus on innovation and investment – they all give the region an extra glint in my eye.   What I don’t love, however, is my dentist telling me off and trying to find a place to store all my bottles... but there are worse problems, admittedly. (Speaking of which, if anyone wants to drive me round the region for next year’s Primeurs, applications open soon!)  For now, I'm excited to see how this year's Primeurs campaign goes. There's no doubt that many producers have created exceptional wines worth buying, but whether the market is sufficiently dynamised by the prices is another question. I'm eagerly awaiting a copy of this year's Bordeaux guide (on sale with the June issue of Decanter) filled with all the wonderful happenings in Bordeaux right now, as well as looking forward to discovering some of the hidden non-classified gems of Margaux. The sun looks set to appear for the first proper time this week, sending temperatures up and kickstarting the 2023 growing season – and, as with any vintage, there’s already so much to look forward to.  Read more about Bordeaux or browse all Bordeaux listings  Photography: Luke Carver

Georgie Hindle had big shoes to fill when she took over from Jane Anson as Decanter’s Bordeaux correspondent in 2021. Here she talks about how she fell for the region and what it’s really like working as a wine critic

Decanter’s Bordeaux correspondent Georgie Hindle takes us behind the scenes in Bordeaux, talking about life as a wine critic

Behind the scenes with Decanter’s Georgie Hindle

“I met Anselme Selosse when I was 13 and that really entered in my heart. He’s really a special person that changed the world of wine [for me],” Matteo Bisol tells me. It’s perhaps not what you’d expect of the young winemaker who represents the 21st generation of the Bisol family – a family that made their name with, and has become synonymous with, fine Prosecco.  Meeting the iconic Champagne producer – considered by many the pioneer behind the region’s grower movement – has stuck in Bisol’s mind, however. Partly, he believes, because he was at just the right age – partway between child and adult, his mind open to new ideas. “He was always talking about wine as a living thing, you know,” Bisol says. “I got it and I always thought it was very important.” He’s been immersed in the family business as long as he can remember. From the age of 10, he spent his summers working in the Bisol winery. “Once I arrived in the morning five minutes late and my father fired me. And then he hired me again because he didn’t want me to leave, being at home doing nothing,” says Bisol, laughing at the memory.  But Matteo Bisol has left the hills of Valdobbiadene behind, now in charge of his family’s very personal project: Venissa. It was Matteo’s father, Gianluca that embarked on the adventure over 15 years ago – but somewhat by accident. He was visiting the island of Torcello, which is home to one of the oldest churches in Venice – founded in 639 AD. “In front of the basilica, there’s a beautiful garden – a little bit hidden – but he saw some vine leaves,” Bisol explains. “He knocked on the door of the owner and introduced himself.” Gianluca spoke to the woman that owned the garden, who told him that a few of the vines were a local golden-skinned variety – Dorona. And down the rabbit hole, he went…  He started researching the grape and its history – discovering that viticulture had long been a part of life in the Venice Lagoon. For almost 2,500 years, vines had been grown on the islands – an integral element of the region’s culture. Before motors and speedboats, the islands were a three-hour journey from the mainland, so isolated that they had a totally different culture – “a culture based on nature, based on farming”, Bisol explains. Their isolation forced self-sufficiency, with every bit of space on each island used to grow something. With religion integral to Venice and indeed Italy’s history, wine – used for twice daily mass – was an essential part of life.   This history lives on in local nomenclature: one of the islands is called Le Vignole, one was known as Vigna Murata (now Lazzaretto Nuovo), San Francesco del Deserto was previously called Isola delle Due Vigne, a road on Murano is called Via della Vigne. Many islanders made wine, with presses for the fruit of the vines in their back garden or field. But as the islands of the lagoon became less distant, with the zip of an engine, many of the vineyards were pulled up, and those that remained were destroyed by the catastrophic floods of 1966.   After this initial discovery, Gianluca Bisol started seeking out Dorona vines – a quest that Matteo remembers vividly. “Really from the beginning, I was on the boat, with the bicycles on Sant’Erasmo looking for more Dorona grapes,” he says, describing their search for a variety that was – at the time – on the brink of extinction. It was a farmer, Gastone, on the island of Sant’Erasmo who really opened Gianluca’s eyes to working with Dorona. He was one of the last farmers in Venice to still make wine for personal consumption.   “A great person, a very beautiful person and very wise – he introduced us to the Dorona history and to the way he was making the wine in the past,” Bisol tells me. Thereafter, Gianluca hunted down cuttings and eventually –in 2006-2007 – planted 0.8 hectares of Dorona on the island of Mazzorbo.   It was tradition – rather than current fashions – that led them to make a white wine with extended skin contact. The wine had always been made with skin contact, and they decided to push it further, with a month of maceration, extracting as much flavour as possible from the unique variety. They also decided that the wines needed time to find their balance after such a long period of maceration. They considered barrel ageing, but didn’t want to change the profile of the wines with the flavour of oak, so instead opted for concrete – and two years’ élevage. The resulting wines have a fine phenolic grip and distinct mineral, even saline, freshness, with a nutty complexity that is reminiscent of mature white Hermitage, Burgundy or Jura Savagnin and Chardonnay – yet also unlike anything else. It’s this unique character that Bisol feels is why the wine is such a success. “We never tried to fit Venissa in any category… we just make the wine that we feel is the right thing for Venissa grapes,” he says  Since the first vintage in 2010, and when Matteo took over in 2013, they’ve learnt a huge amount. “There are parts of the vineyard – different parcels – that have a lower salt concentration in the soil,” Bisol explains. The more saline soils restrict the yield, producing smaller and even more concentrated berries. It was this discovery that led to the introduction of Venusa, a second wine that is made for earlier drinking, in 2017 and comes from the less saline plots. Of course, with two wines, it means that the already tiny volumes of the top white, Venissa Bianco, are even smaller – with just 2,000 bottles made a year. “It’s such a small vineyard that we know the plants one by one,” Bisol says, with an almost paternal fondness.  With each vintage, as well, they have pushed quality even further – learning how to get the most from the previously almost extinct Dorona. They’ve been making the wine for 20 years, but – as Bisol says – “Twenty years means you made it 20 times. Twenty times is nothing. Every year we see how the wine is responding, and we learn every year more things that allow us to make better and better wines.”  And making wine in this remarkable place, with its salt-soaked soils, is far from easy – something that the flood, or “acquaalta”, of November 2019 brought vividly to life. Although the vineyard is shielded by a wall, it couldn’t hold back the water – and once receded they had to wash the vines one by one with fresh water, and the soil as well, to try to remove the potentially catastrophically high salt content. It was only when the vines emerged from dormancy in the spring that they knew whether or not they’d done enough to save them.  “It also reminded us how resilient this grape variety is, which is actually the resilience of Venice – which has been a city or republic for more than 1,000 years,” Bisol says. The Dorona grape, like the region’s people, has adapted to its surroundings. Fortunately, with the introduction of MOSE in 2020, the city’s barrier system designed to shield it from high tides, flooding hasn’t threatened their crop – and vineyard – since.   It's clear talking to Bisol, that Venissa is much more than a wine. Not only is it a symbol of Venice’s resilience, but a project to preserve the city’s great traditions.The glass bottles come from the island of Murano, but it’s the labels that are particularly special. They work with Marino Menegazzo of Mario Berta Battiloro, the last goldbeater not just in Venice, but Europe – who hammers out a sheet of goldleaf for each and every bottle they produce, from the workshop that once was home to Titian. The design changes each year, with the leaf for each bottle very slightly different thanks to its hand-crafted nature. With Marino Menegazzo in his 70s, and no one to inherit the family business, this tradition – like the Dorona wines – is at risk.  “This part of the history of Venice, it’s an history that is very important and our role at Venissa is really to keep this history alive,” Bisol says. “For us, winemaking is really important, of course my family comes from winemaking, it has a history of 500 years in winemaking. But when we realised the history that was behind this city, behind agriculture and grape growing, and behind all these other handcrafting techniques, it became even more important for Venissa, as our role of preserving the heritage rather than just making a wine… We really believe that preserving our tradition is even more important than winemaking.”   While the family started with just 0.8 hectares on Mazzorbo, they soon started making a red from 2.75 hectares on Santa Cristina (with vines that were previously farmed by the Swarovski family). Now, they’ve planted Dorona on two more islands, harvesting the fruit for the first time this year. Under the Bisol family’s protective eye, it’s clear that this special Venetian tradition has found its guardian angel.  The Venissa wines are exclusively available from FINE+RARE in the UK; if you’d like to visit Venissa, please contact us. Browse all current listings and find out more about the estate here. 

Venissa is an estate like no other, crafting wine from the indigenous Dorona grape grown on islands in the Venice Lagoon. Sophie Thorpe spoke to Matteo Bisol about his family’s mission to preserve this unique Venetian tradition 

The Bisol family has made it their mission to save viticulture in the Venice Lagoon. We talk to Matteo Bisol about their island vineyards and making Dorona

Matteo Bisol of Venissa on making wine in Venice

Fighting the tide: Venissa’s quest to save Venice’s vineyards

It is hard to imagine The Balvenie without David Stewart MBE and vice versa. The story of each one is so entwined with the other that it’s nigh on impossible to unpick where one starts and the other ends. Since joining William Grant & Sons in 1962 as a whisky stocks clerk, Stewart has gone on to become of the most well-known and respected names in the Scotch whisky industry. He is, for many, the pioneer of cask finishing, and his achievements are far too numerous to list. When the incredibly humble man “hangs up his boots” after a 57-year-plus career, Kelsey McKechnie will become the youngest-ever female Malt Master. “Everyone always jokes and says do I feel the pressure and what does it feel like getting into a role like this. There definitely is an element of pressure around it but it’s funny, you really don’t feel it. I enjoy this role and I love being here. I’ve been very lucky, so I’m saying ‘let’s ride it out for as long as we can’,” the 29-year-old says with unfettered excitement. The Malt Master role is a very different one today than it was in the 1960s, something McKechnie and William Grant & Sons Master Blender Brian Kinsman continually rib Stewart about. “Obviously, way back in the ’60s we had very little to nose,” Stewart says in a flash. When he joined the family-owned business under Master Blender and Balvenie Malt Master Hamish Robertson, Glenfiddich and The Balvenie weren’t being bottled as single malts and Grant’s Standfast blend was the company’s bread and butter. Today, the triumvirate nose samples from Ailsa Bay, Girvan Distillery, Kininvie, Glenfiddich and The Balvenie. From the new-make spirit to mature samples, bottling runs to all the vat samples, everything produced at the William Grant distilleries in Scotland and Ireland passes under the noses of Kinsman, McKechnie and Stewart. This equates to approximately 40-50 Scotch, Irish whiskey, Bourbon and rum samples per day. There are a number of parallels in Stewart and McKechnie’s stories, which they don’t even seem to realise. Both started in very different roles and eyed an interesting opportunity to nose spirits. Through serendipity and, one suspects, a tremendous amount of inherent skill and hard graft, the two found their way into the nosing lab. And once faced with row upon row of whisky samples, the pair knew in an instant that they found their calling. “I always say I have been very lucky,” McKechnie says. “I’m such a firm believer in timing. I came into the team at a time when I had built up enough technical process skills to understand how whisky is produced and carry out analysis, and do all these different things and apply it to blending.” In 2018, Kinsman and Stewart approached 26-year-old McKechnie to ask if she would be interested in learning all things regarding Balvenie and eventually moving into the Malt Master role. She’d been with the company for almost four years at this time, working her way from the lab to the whisky stocks team, from the Lowlands to the beating heart of the business in Speyside. So, what does it take to become a Malt Master and what did the two whisky patriarchs see in the young female scientist at the infancy of her whisky career? According to Stewart, one of the biggest things is the nosing aspect. “We can identify what’s right and what’s not, just by nosing the whisky,” he says. “And that’s what takes the time to learn.” Stewart had already been through the process of training a successor with Brian Kinsman from 2001 to 2010. It might be hard for some to fathom why this apprenticeship takes the best part of a decade, but so much of the role is about instinct and the finest of margins. In the same way Robertson brought in samples for Stewart – albeit not quite as many – all those years before, Stewart to this day brings in spirit samples for Kinsman and McKechnie. “Really, it’s nosing together; pointing out things,” Stewart adds. “I bring in samples from different cask types and different ages. Brian just worked with me and gradually he took over and I was doing less and less.” When asked if she thinks she has a natural gift, McKechnie says it’s curiosity above anything else that’s required to be a good noser. “I think everybody just needs to be curious enough to want to nose. Most often – apart from a few people where it is genetic and there’s one reason or another that they don’t have a sense of smell – I actually think so many people will be fantastic nosers.” And the difference between Joe Bloggs and the youngest-ever female Malt Master? The word association piece, according to McKechnie. “So often we’ll see when people are starting up that they can nose something and they can say ‘this is different’. So we do difference nosing. We have one glass and we’re just nosing it against another and saying ‘pick up the difference or not’ – it’s often easy for people but they can’t put into play what they can pick up.” Like any other skill, McKechnie says it takes years of practice and fine tuning. “It’s like using a different language,” she says. “To remain fluent, you need to continually keep nosing and to be able to relate those words to what you’re picking up in nose and taste. I actually think everyone has a gift, if that’s what you want to call it, or the ability to do it. It’s just about really working out what flavour this is and what do we call it.” Sometimes tasting notes for spirits and wines can be a little, shall we say, creative. For this reason, at William Grant & Sons, free words are banned. “We’re really strict about what people can call the different spirits,” McKechnie explains. “It could be too easy for somebody to say ‘this smells like a walk in the park’ and we can find ourselves in a bit of a pickle.” When starting out, as a professional or merely an appreciator of spirits, this word association piece can be a barrier, according to McKechnie, but it shouldn’t be. “There is no need for whisky to be intimidating at all,” she says. “For me, I think it’s because people are so passionate about it. It gets everyone a little bit puffed up – I’m guilty of it as well. But there really is no need for it at all because it really is such an open area that there isn’t one strict answer so I’ll always say that to people – if you are new to it, make sure you get lots of water in there because whisky is just such a flavour bomb. I think people don’t really know what they’re nosing because there are 50-100 different flavours coming at you at once.” So, do the three professional nosers ever disagree? “Because I’ve only ever learned to nose and blend from David who has learned from Brian and vice versa, we don’t often butt heads or have a difference of opinion –  but it does happen,” McKechnie says with a coy smile. Rather than being daunted by the spectre of the longest-serving Malt Master and Kinsman – who has racked up a fairly daunting 24 years in role – McKechnie seems energised by the legacy and is visibly thrilled at the prospect of one day imparting this knowledge to her own apprentice. “I think it would be a massive compliment to be able to give someone the knowledge you have gained,” she says. “I really like the thought of actually one day being able to train someone.” When it comes to the future at The Balvenie, McKechnie says they have “many things bubbling away in the warehouses” and they have “a few more Balvenies tucked up our sleeves”. But, on a personal note, “it’s working with Brian and David day-in-day-out and gaining more of the understanding about what makes Balvenie so unique. Understanding more around the stock model and that 50-year horizon and ensuring that I’ve got the skills to make sure the next 50 years is looking good and that we’re not laying down all the wrong things.” The Balvenie maintains a lot of the traditional whisky-making traditions. It is the only Scotch whisky distillery to grow its own barley, use traditional floor maltings and keep coppersmiths and coopers on site. Rather than being gilded handcuffs, these ties to traditions allow the team to experiment at the point of distillation and Stewart has spearheaded a number of trials that have come from the maltings throughout his career. “I think if there is one thing that David has ever taught me, it’s about how important innovation is,” McKechnie says. “We always talk about the fact we’re the home of cask finishing. It was something that was second nature in David’s role until people started calling it innovation. “And it’s something that we always want to pass on. We’re constantly thinking about what’s next and how can we do something unique and what exciting things we have in the distillery that we could release and bring to everyone. “Obviously the Scotch Whisky Association is pretty strict, in a good way, so that no-one is going to mimic us, but we also like to push the boundaries a little bit and say, what can we really get away with here?” With a glint in her eye and an unmistakable enthusiasm in her voice, you can’t help but feel The Balvenie, when it comes to honouring tradition and driving innovation, is in very safe hands for the next 50 years and beyond. Browse all whisky or read more Editorial

David Stewart MBE is the longest-serving Malt Master. Kelsey McKechnie is the youngest female Malt Master Apprentice. Holly Motion speaks to the two Balvenie record-breakers about passing the baton, the weight of a legacy, and what it really means to lay down stocks for the next generation

Balvenie's longest-serving Malt Master David Stewart MBE and his successor Kelsey McKechnie on upholding tradition while driving innovation at the distillery.

The Balvenie, making of a master

The Balvenie: the making of a master

In some parts of the wine industry, oak has almost become a dirty word. Many winemakers eschew its use, seeing it as something that homogenises varieties and styles with its overbearance, given its potential to dominate a wine’s final flavour. The use of new barriques in particularly has become less and less popular in varieties that are more prone to oxidation and whose delicate aromatic nature is lost to the perfume and spice of toasted oak. This certainly seems to be the case for the Italian varieties Sangiovese and Nebbiolo, for which there is a decided swing back towards more traditional, larger, old oak vessels that do not impart oak flavour to the wine.  Although Burgundy’s Pinot Noir and Chardonnay have a great affinity to new oak, its use is declining significantly. Today in the world of fine wine, terroir is the trumping card and if new oak is a barrier, then its use starts to be questioned – but the Bordelais have long been strong affiliates to long ageing in barrique and the additional complexity that this brings wine.   Amongst Bordeaux’s elite, there remains a strong endorsement for the continued dominance of oak. Hugely influential producers such as Ch. Margaux have no qualms about using 100% new oak. Winemaker Philippe Bascaules believes criticisms of overusing new oak are due to “the weakness of the wine” – rather than the power of the oak. For Bascaules, “The most important quality it brings is the evolution of the tannins,” – and this is something he is not willing to give up. After many years of experimentation, Ch. Palmer's Thomas Duroux (another of the region’s leading names) also believes the oak barrique is the vessel that best develops the tannin structure of a wine. For him, the 225-litre barrique provides the perfect ratio of wine to wood and level of oxygen exchange for “building the wine”, and thus creating more structural complexity. But for some vignerons, new oak does has its limits. Duroux himself is well aware of new oak’s ability to overpower other flavours and he tries to maximise structure, while not losing the primary fruit character and aromatic complexity of the wine during oak ageing. He has come to his own conclusion that the best approach is to age the wine in two phases.  From November to July, he ages the wine in 225-litre barriques (either new or one-year old oak). Then from the July after harvest to the following July, the wine is transferred to larger oak foudres (2,900-litre barrels). Duroux describes this second phase as, “the refining period, where the wine becomes more integrated, more delicate – without taking on oak flavour or oak tannin”. He started trialling this method in 2017 and now Palmer has 20 foudres in operation. For the 2020 vintage, 30% of the wine has been aged this way. Bruno Borie (Ducru-Beaucaillou), however, feels that the reason for using new rather than old oak is often misunderstood. It is not the flavour that is important, but the cleanliness of the vessel. With wines such as the reds of Bordeaux, where pH levels are fairly high, it only becomes more important, since the wines are prone to bacterial spoilage, something that plagued the region in the 1980s and ’90s.  “We don’t sell wood, we sell wine,” Borie says. “We just use new wood because it is clean and sterile.  Brett [Brettanomyces, which causes bacterial spoilage] is so dangerous.” Older barrels are difficult to clean effectively after use, agrees Margaux’s Bascaules, and when a barrel is beyond a year old, the risk of microbial spoilage simply becomes too high. For Duroux, the older barrels also develop a sulphate compound which can “dry out the wines”.   Oak flavours are undoubtedly integral to the flavour of Bordeaux – but even its strongest supporters are today more open to understanding and better controlling its effects. Although Bascaules has no plans to change how Margaux is made, he is excited to learn what the wine would taste like without oak.  Over many years working at the château, this is something he has never experienced and still does not know. He has plans to experiment with glass amphorae, the idea being that by knowing what Margaux tastes like without oak, it will help him better understand how different elements bring flavour to the wine. “Many flavours people assume are from oak are not,” he says. “Cabernet Sauvignon, for instance, can produce coffee-like flavours. Often it is the reaction of oak and fruit that creates the flavours together.” Using these new glass amphorae will bring a better understanding of Margaux’s DNA – or at least this is what he hopes. Borie also notes that long oak maturation is essential for extending the ageing potential of the wine, something alternative vessels simply cannot do. “We make wine for collectors, wines that can be cellared for decades. Bordeaux’s ageing potential is very important, it is one of its signatures,” he says. Since 2003, Borie has extended the time Ducru-Beaucaillou spends in oak from 12 to 18 months to further extend the wine’s 
longevity. “Longer maturation in oak brings a special textural complexity, a different level of integration – a melding of tannins,” he explains.  But there are others in Bordeaux committed to oak alternatives. One of the region’s top châteaux that has made a significant switch from oak is Ch. Pontet-Canet, which has been ageing 35% of its wines in concrete amphorae since 2012. For Pontet-Canet’s Justine Tesseron, “Too much oak hides too much of the fruit flavour.” The clay amphorae, she feels, “help to keep the freshness of the fruit and keep the purity of the wine”. Happy with the results, Tesseron is considering increasing its proportion in the future, convinced they aid them in retaining “a pure expression of what the terroir is giving us”.  But no one in Bordeaux is giving up on the oak barrel altogether. In fact, the strongest advocates of alternative vessels tend to think a combination of both is where you can achieve the most complexity. Guillaume Pouthier from Ch. les Carmes Haut-Brion is known as one of the more experimental vignerons in Bordeaux and was amongst the first to introduce clay and glass amphorae as an alternative to oak. He feels clay in particular is “very interesting” as it allows the same oxygenation as barrels but you keep the “freshness, you keep the first aromatics of the wine”. He has some 2018 still in clay amphora and it smells like it was just picked.   Ageing wine in glass containers, however, sees no exchange with oxygen, meaning “the tannins don’t evolve” and the resulting wine is “very pure”, something which he feels adds energy to a blend although can risk making the wine “too hard” if there’s too much. For Pouthier, small proportions of wine aged in clay or glass brings additional complexity to the wine, working in combination with oak-aged wine.   Despite these tentative steps into alternative vessels, some have been less than impressed with their experiments. Bruno Borie comically uses history as his guiding light: “Amphorae were used prior to the Romans. But the Romans introduced oak because they saw it as an improvement – they chose the gods of the forest. Being ancestors of the Romans, we should do the same.”  For the top growers in Bordeaux, such as Ch. Lafite, oak still remains an incredibly important element in their wine. With their own cooperage on site, they produce 90% of the oak they use each year, with the Grand Vin typically seeing 90% new wood. Lafite’s Jean-Sébastien Philippe believes that in addition to building volume in the wine, oak also adds important “aromatic and flavour complexity”. These additional layers of flavour are down to the skills of the cooper and, for him, are something that should be celebrated. “Light and delicate toasting – not vanilla or coconut – but toasted spice adds complexity to the wine,” he says. While Cabernet Sauvignon clearly has a great affinity to the barrique, Cabernet Franc and Merlot seem to have better results with larger oak foudres and amphorae. Nicolas Glumineau at Ch. Pichon Lalande is going to start trials with glass and concrete, having been really impressed by wines, in particular, aged in glass. “The more structured the wine, the better it is in terms of definition and tannic structure. I was impressed with the results with Merlot, but the Cab Franc was stunning,” he said.   Pomerol’s Ch. l‘Evangile is experimenting with ceramic jars, which they believe not only “preserves intensity, purity and freshness of the fruit, but causes a vortex [within the vessel] constantly moving the wine around, resulting in more contact with the lees, that brings a more rounded, silky texture to the wine” .  While their influence remains minor in the final assemblage, these new amphora advocates are convinced that their judicious use adds complexity to their wine – and oak alternatives look set to become a permanent fixture for many in Bordeaux. For châteaux, like L’Evangile, these experiments are happening in conjunction with a reduction in the percentage of new oak in recent years (from 80% to 50% for L’Evangile) and they are not alone.  Overall, despite the healthy levels of experimentation going on in the region, oak barriques still reign supreme in Bordeaux. In their trials with alternative vessels, many vignerons have fallen back in love with the unique properties of the oak barrique. While cement, clay and glass, as well as larger oak, will continue to play a minor role at some properties, it’s unlikely that the barrel will fall from favour anytime soon.  Read more about oak in Finding the balance: the art of the cooper or explore Bordeaux 

A region where producers were once known for using 200% new oak, Bordeaux has long championed the barrique. But at a time when winemakers around the world are looking to alternatives for ageing wine, we talk to Bordeaux’s leading names, asking whether their love affair with the barrique is over

Chx. Margaux, Palmer, Ducru-Beaucaillou and more on the Bordeaux region's relationship with the barrique – and why it may have fallen from favour

Bordeaux and its relationship with the barrique 

Is Bordeaux over oak?

Château Barrière

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