We arranged a tasting of some of the top picks including Jean Stodden, Klaus Peter Keller, Bernhard Huber and Dr. Heger. The variety on offer just from a handful of these wines showed the incredible potential of the region for top Pinot production. With Pinot’s inherent ability to express terroir we found a huge range in structure and flavor profiles from different single vineyard sites. 

Prior to our mixed case offer of these top producers out next week, the tasting helped us map out the different terroirs in Germany as well as the typical profiles of these top producers. With such rich diversity in soils, climate and clones throughout the Pinot growing regions of Germany, there is plenty to discover, from the cooler climate, slate soils of Ahr to the richer, more opulent Pinots of Baden.  Pinot Noir’s amazing ability to express terroir is the perfect vehicle for the variety and nuance to be had from the top sites in Germany, which are dotted all around the fine wine regions of Germany including Mosel, Ahr, Franken, Rheingau, Rheinhessen, Baden and beyond. In the last 20 years there has been a quality revolution in Germany, specifically with Pinot Noir production, buoyed by the ever-increasing demand for Burgundy and the intrinsic connections the Germans have with their contemporaries in Burgundy.  Many producers have strong links with the Cote d’Or either having worked extensively in the region or from forging long-term friendships with some of the top growers. Between the two regions, there has been a real sharing of knowledge from viticultural to winemaking techniques, exploring the variations and nuance created by the distinct soils and the mix of both German and Burgundian clones being used today in Germany.   The recent trends in Pinot Noir production with a move towards earlier picking, less extraction and a reduction in oak have helped further promote the diversity of styles found throughout the German Pinot regions and allowed the top producers to really shine in recent years. Critics throughout the world have been praising the results coming out from the top producers in Germany. This Pinot Noir Revolution gripping Germany is well worth getting excited about and we are thrilled to be able to offer a range of some of the finest examples.

 Top Pinot Noir producers Jean Stodden – Ahr 
One of the longest-running wineries in Germany, the Jean Stodden estate has been producing wine in Ahr since 1578. The wines are unique thanks to their very specific terroir and incredibly cool climate and this shows in spades throughout their range of wines, producing beguiling ethereal examples that are quite unlike Burgundy but distinctly European. 

This really is cool-climate Pinot, with vineyards located 50km north of Mosel. The wines
only reach ripeness thanks to the steep south-facing slopes grown on slate soils that retain the heat in the vineyard. The Estate has just 6.5 hectares of vineyards. This soil type, steepness and slate soil offer a completely different style of Pinot Noir compared to the Cote d’Or.

On tasting, the wines have an incredible line of acidity running through them, distinctly more marked than Burgundy. There is amazing contrast here too. Tasting the Sonnenburg Grand Cru alongside the Monchberg, these wines have completely different personalities, the Sonnenburg is incredibly linear and focused on the palate with great precision and pitch. The fruit is delicate and uber-fresh – sappy cranberry, wild strawberry and earthy rhubarb flavours. This is one for all the acid heads.

The Monchberg really is outstanding, and certainly worthy of Grand Cru status anywhere in the world. Incredibly compact with tons going on. The spectrum of fruit goes from fresh red fruit right through to meatier, savoury tones. The mid-palate is striking – weighty and viscous yet still has such delicacy and finesse. The length and breadth of the wine is extraordinary and the contrast of the wine shows real terroir in action. This wine is not cheap but its is stunning. 

Both wines have quite a different tone to Burgundy but are full of European etherealism. If you can find it, the Monchberg is one not to miss. World-Class.

 Key wines:     Jean Stodden Spatburgunder Herernberg Grosses Gewachs (GG) Jean Stodden include Hardtberg Spatburgunder GG Mayschoss Monchberg Spatburgunder GG  NeuenahrerSonnenburg Spatburgunder GG What the critics say: 

“From their home village Rech, Stodden's 2016 Recher Herrenberg Spätburgunder GG shows a ruby-garnet color and an aroma of pure, fine slate but warm, ripe fruit. Lush and intense on the palate, this is a full-bodied, quite powerful and intense Pinot with a lingering juiciness and spicy slate flavor. The 2016 is still very young, but its potential is enormous. Tasted during the preview of the GG wines in Wiesbaden in August 2018."
 93 points, Stephan Reinhardt, Wine Advocate “Alexander Stodden's 2016 Neuenahrer Sonnenberg Spätburgunder GG is brighter in color than J.J. Adenauer's Sonnenberg and shows a very ripe, slightly caramelly yet pure and slatey bouquet with remarkable precision. Sweet, round and elegant on the palate, this is an intense and refined Pinot Noir with good concentration, remarkable length
and a tight finish. This 2016 is excellent, but it needs time.”
 91+ points, Stephan Reinhardt, Wine Advocate

 Markus Molitor, Mosel
 Starting from practically nothing in the early 1980s, Markus Molitor has rapidly grown into one of the world's most respected winemakers, with a list of accolades including Rising Star of the Year 1999 from Gault & Millau, Winemaker of the Year 2014 from Falstaff and raft of huge critic scores. He is also the proud owner of over sixty hectares of prime real estate that Mosel Fine Wines – an independent review of Mosel Riesling – describes as a "who's who of Grand Cru between Erden to Bernkastel and the Southern Saar."

Molitor, like all producers in the Mosel, is most well known for his Rieslings, with Pinot Noir just making up 4% of his plantings. However, his top Pinot Noirs are becoming as collectible and as respected as his whites and are rated amongst the finest in the world. He produces seven different Pinot Noir cuvees in total.

"Try the most 'simple' Pinot Noir Molitor is bottling and you are already in the upper class of German Pinot Noir. His three-starred Pinots are mind-blowing and can compete with prestigious Grands Crus from Burgundy.” Stephan Reinhardt, RobertParker.com

 Key wines:        Trarbacher Schlossberg   Brauneberger Klostergarten     Graacher Himmelreich K.P. Keller – Rheinhessen 
 Alongside Egon Muller, Klaus-Peter Keller’s wines are the world's most collected and prized wines coming from Germany, famously quoted by Jancis Robinson his Riesling has been described as the Montrachet of Germany. Whilst his Rieslings initially brought so much international fame to the winery, his Pinot Noirs today also have a strong following. His 16 hectares of vines are predominantly made up of Riesling plantings but he has a Grand Cru site for his Dalsheim Spatburgunder grown on the Burgel Grosses Gewachs site. 

This Grand Cru has a specific shell limestone soil more suitable for Pinot Noir than Riesling
production. Yields are minuscule with each vine reduced to just two bunches of grapes and each individual cluster further halved. Klaus believes this helps to increase the overall acidity allowing him to pick the grapes at full ripeness whilst retaining freshness. His global recognition in a region more famous for high yielding dirt cheap Liebfraumilch, has caused a quality revolution in Rheinhessen, with more producers following in his footsteps. 

The Keller Pinots are genuinely impressive, the wines capture the beguiling Pinot fragrance
and the finesse to the tannins are very close in style to top Burgundy. We tasted the Frauenberg Grand Cru, the last of Keller’s Pinot Noir vineyards to be harvested, being the coolest site and grown at altitude. The wine has tremendous stony minerality, very precise fruit clarity and is not without structure – think Clos de la Roche rather than Chambertin.

 Key wines      
 Dalsheimer Burgel Spatburgunder GG         Frauenberg Spatburgunder GG      Westhofen Morstein Felix Spatburgunder GG What the critics say 
Frauenberg Spatburgunder GG 2013: “From French mass selections planted in 1996 and picked with 35 hectoliters per hectare, the 2013 Frauenberg Spätburgunder trocken GG has a
clear and subtle yet aromatic bouquet of red and dark berries (raspberries, wild blackberries, cassis), along with some flinty/smoky flavors. Intense, concentrated and firm on the palate, this is a full-bodied, powerful and firmly structured Pinot.  It has a velvet texture, ripe and grippy tannins, and a persistently sweet and concentrated flavor of ripe cherries and red fruit jelly in the finish. The wine has more power and body than the Bürge, l but also needs more time to develop. It's from a cooler and windier plot, and always the last Pinot harvested at Keller. The 2013 was aged in used barrels, whereas only the 2012 was still in new barrels until the malolactic fermentation was finished.  92 points, Stephan Reinhardt, Wine Advocate “The 2014 Frauenberg Spätburgunder GG offers a ripe, yet precise, fresh, well-focused and rather coolish Pinot aroma; it shows some very discreet toast and mocha flavors highlighting the wild blackberry and dark cherry aromas. Full-bodied, ripe and concentrated on the palate, this is an intense and juicy, almost charming Pinot Noir from low-yielding vines on limestone
bedrock (21 hectoliters per hectare). The finish is intense and powerful, but well structured due to the stems on which the wine fermented for 21 days.  The finish is almost sweet, due to the ripeness (a word rarely used 30 years ago in the higher altitudes of the Frauenberg), but is also very fresh and precise; whereas the ripe tannins give the required grip and structure. This is a promising wine with delicate fruit flavors, mineral freshness and probably more power than the Bürgel; but at least at this moment, it maybe has less transparency and finesse.  
91-92 points, Stephan Reinhardt, Wine Advocate

 Bernhard Huber, Baden
 Bernhard Huber was seen as the German godfather of Pinot Noir and was one of the most
instrumental vignerons to improve the region's reputation for the varietal. Working extensively with massal selection of clones, 10 – 15 different Pinot clones exist within one vineyard. Huber’s style has always been centred around creating a “nervosity” in his wines. The vineyards share a similar climate and limestone soils of the Cote d’Or. 

The wines are distinctly smoky, meaty with both sweet cherry liqueur notes but also greenness too. The Sommerhalde Grand Cru however is a real step up from the Alte Reben cuvee (made from declassified Grand Cru grapes). Even more impressive was the Bienenberg Grosse Gewachs. You certainly get more weight in these wines from Baden. The wines have rich broad textures on the palate and the tannins more velvety and sturdy than the wines of Keller and Stodden with have more finesse.

 Key wines:     Bernhard Huber Alte Reben Spatburgunder    Bernhard Huber Sommerhalde Spatburgunder GG  Bernhard Huber Malterdinger Bienenberg Spatburgunder “R” 
What the critics say
 "Cherry red and fresh in color, the 2015 Sommerhalde Spätburgunder GG has a pure, very elegant and rather floral bouquet of fresh red fruits. Still a bit reductive on the palate, this is an elegant, silky textured, fresh and fruity Pinot Noir with firm but fine tannins and a long, complex and pretty tight finish with reduced power. It is an impressive wine but the most closed of Huber's 2015 GG Pinot quartet at this early moment. Tasted in Wiesbaden,
August 2017. 
93 points, Stephan Reinhardt, Wine Advocate
 
Bernhard Huber Malterdinger Bienenberg Spatburgundr “R” 2015 – “Julian Huber's 2015 Bienenberg Spätburgunder GG shows a lovely, vital ruby red color and opens a bit reductive still, with a clear, fresh and well-defined bouquet of red fruits, crushed stones and spicy and floral aromas. It is a full-bodied, firm, fresh and finessed Pinot Noir with a serious tannin
structure and persistent vitality. This is a terribly clear and precise Pinot, and the finish is really cleansing and stimulating. Tasted at the "VDP Grosses Gewächs" presentation in Wiesbaden, August 2017.” 
 92 points, Stephan Reinhardt, Wine Advocate 
Weingut Dr. Heger, Baden  
One of the more established domaines in Baden the winery has been in operation since 1935.
Today run by Joachim Heger who was understudy to Helmut Donnhoff, the winery has never been in better shape, producing their unique expression of German Pinot Noir thanks to the distinct volcanic soil found in their two main Grand Cru sites of Winklerberg and Achkarrer Schlossberg.  
The 2015s we tasted were stunning. Whilst perhaps less complex in terms of fragrance at
least at this point, the palate has very fine textured tannins, tremendous finesse - there is so much elegance to these wines and so much freshness, the wines leave your mouth enlivened and salivating. Is this the effect of the volcanic soils? Whilst clearly European in style this is again very different to Pinot Noir from Burgundy but certainly as interesting and ethereal. 

 Key wines:     
 Hausleboden Winklerberg Spatburgunder GG Mimus Winklerberg Spatburgunder      Achkarrer Schlossberg Spatburgunder GG      Vorderer Winklerberg Spatburgunder GG Rudolf Furst, Franken
 These days this prolific estate is run by Paul Furst who has continued to make further improvements in their already world-renowned vineyards, further increasing the planting density and replacing German clone vines with Burgundian clones. The estate comprises 20 hectares in total, of which 13 are planted on the Centrafenberg Vineyard in Burgstadter, one of the most celebrated vineyards in Germany. The site is made up of red sandstone, iron rich soils ideal for Pinot Noir production. He also produces a Pinot Noir on the very steep slopes of Schlossberg. Furst is famous for their tiny yields operating at ruthlessly low production levels in order to maximise quality.

 Key wines:       Centrafenberg Spatburgunder GG         Hundsruck Spatburgunder GG          Klingenberg Schlossberg Spatburgunder GG What the critics say: Weingut Rudolf Furst Hundsruck Spatburgunder GG The 2016 Hundsrück Spätburgunder GG is even more fine and spicy on the nose than the Centgrafenberg. The palate is lush and firm but also concentrated and very elegant, with remarkable finesse and aging potential. This is great German Spätburgunder, and I am looking forward to tasting it again with more time and more wine in my glass. Temporary score. 
94-95 points, Stephan Reinhardt (tasted in Wiesbaden in August 2018) Explore more Editorial 

We have sourced a parcel of some of the finest Pinot Noirs coming out of Germany, a diverse region that is today arguably producing the most exciting Pinot Noirs in Europe, outside of Burgundy. Top examples are world-class and offer both similarities and important differences to the Cote d’Or. 

The finest Pinot Noirs are coming out of Germany, a diverse region that is arguably producing the most exciting Pinot Noirs in Europe, outside of Burgundy. 

Exploring Germany's Pinot Noir

Beyond Burgundy: Exploring Germany's Pinot Noir

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

Xiao-Li Meng, professore di Statistica Whipple V. N. Jones a Harvard e fondatore e direttore responsabile di Harvard Data Science Review, si è lasciato ispirare da uno studente per combinare vino e statistica — ottenendo intuizioni ben oltre quanto entrambi si aspettassero.

From wine tastings to data science, Xiao-Li Meng explores how statistics reveals simplicity in complexity – one glass, experiment, and insight at a time.

Wine, statistics & serendipity: A Harvard journey

Semplicità nelle statistiche, complessità nel vino, il resto nei biscotti della fortuna.

Every now and then, the word ‘singularity’ is used to describe a particular wine that stands apart, for whatever reason, from other wines of its type. But just what is singularity, and how can wine express it? Wine writer Tamlyn Currin investigates.

What makes a wine truly singular? Tamlyn Currin explores the rare bottles that defy convention and challenge the rules of the wine world.

Searching for Singularity in wine

Searching for Singularity

Dagli inizi nel Beaujolais negli anni ’80, il movimento del vino naturale è diventato un fenomeno globale. Ma quale influenza ha avuto poco più a nord, nelle storiche denominazioni della Borgogna? Simon J Woolf esplora il confine sempre più sfumato tra viticoltura classica e naturale

From Beaujolais to Burgundy, how has the natural wine movement shaped a terroir-driven region? For FONDATA Simon J Woolf explores the changing landscape.

Natural Wine’s Influence on Burgundy

Natura vs. Intervento: la ricerca della vera identità della Borgogna

Burgundy is a mecca for lovers of fine Chardonnay and Pinot Noir, but, with its litany of producers and vineyards, it can be a tricky region to get to grips with. Here we offer an essential guide to the region – breaking down everything from how vineyards are classified to producers to look out for

Discover everything you need to know about Burgundy: from vineyards and producers to the difference between négociant and domaine or what a Grand Cru is

Your essential guide to Burgundy wine

Your essential guide to Burgundy

If you haven’t already heard about Baettig, we urge you to read some of our previous coverage of this rising-star producer. Conceived by Francisco Baettig (the winemaker behind Errázuriz, Seña and Chadwick) and Carlos de Carlos (previously Commercial Director at Errázuriz, he now works for Paul Hobbs) over dinner in London in 2010, Baettig is one of Chile’s most exciting projects – crafting site-driven wines from Malleco and the Maule.  The duo spent years seeking out the right site – realising that to find vineyards that met their standards, they’d have to plant them themselves. In 2013 they put their first vines in the ground, planting Burgundy clones of Chardonnay and Pinot Noir in Traiguén, in the Malleco province. Both Francisco and Carlos had family ties to the region – making it seem like fate.  The site, however, wasn’t chosen purely for their emotional connection to the area, but with an eye on sustainability and quality. This is one of Chile’s southernmost wine regions, with red clay, clay loam and volcanic soils, cool conditions, 25% less sunshine than the Central Valley and – most importantly – plentiful rainfall, allowing them to dry-farm the vines and produce restrained, Burgundy-inspired Pinot Noir and Chardonnay with moderate alcohol levels, bright acidity and vibrant fruit. Francisco is clear that the quality of their vine material has been key to their success – as it is only relatively recently that Chile had access to high-quality, clean Burgundy clones.  While Baettig started with Chardonnay and Pinot Noir, the producer has since added Cabernet Sauvignon from old vines in the Maule to the range, unsurprising given Francisco made his name making Chile’s icon wines.  Fourteen years after they first imagined their joint project, we welcomed Francisco to London to look back at the Baettig journey so far – tasting through a vertical and exploring how the project has developed and evolved.  About the Baettig range  There are currently two tiers to the Baettig range, with the idea that a top tier, single-vineyard offering that will be their “Grand Cru” of sorts, is likely to be added in the future. The current range comprises:  Vino de Viñedo: these wines are a vineyard selection designed for earlier drinking, effectively a “village” equivalent. The Chardonnay and Pinot Noir at this level go by the name of Los Parientes (“the relatives”, a reference to the closeness of the different parcels), while the Cabernet Sauvignon is called Los Compadres (“close friends” – a tribute to the growers with whom they’re working). Los Compadres is sourced from various dry-farmed, cool plots in the more coastal areas of the Maule, with the vines all over 30 years in age and some up to 150 years old, creating lively, juicy and intense expressions of Cabernet Sauvignon. The first vintage of the Los Parientes Pinot Noir and Chardonnay was 2019, while the first vintage of the Los Compadres was 2021. These may be the entry point to the Baettig range, and they are made to drink on release, but they also – like good village Burgundy – have capacity to evolve and will only benefit from an extra year or two in bottle.  Selección de Parcelas: their “Premier Cru” equivalent range, made in smaller volumes from specific parcels and built for longer ageing. These wines see a higher proportion of new oak and longer ageing prior to release. The Chardonnay and Pinot Noir are labelled under the Los Primos name (“the cousins”), while the Cabernet Sauvignon is named Los Padrinos (“the godparents”). The Pinot Noir comes from their El Primo, Chuir, and La Cuñada parcels, chosen for their elegance, structure and ageing potential; while the Chardonnay comes from the Triángulo and Llaima parcels, creating mineral, vertical wines that are all about tension. The first Los Primos Chardonnay and Pinot Noir were made in 2016, with the first wide release from 2017, and Los Padrinos was first made in 2022. Volumes of these wines are tiny, with just 300 to 350 cases made of each of the Selección de Parcelas.  About the winemaking The emphasis with Baettig is firmly on expressing site – and as such the winemaking is very “light touch”, allowing the sense of place to shine through in the wines. The style has evolved, with the use of oak reduced a little from the earliest vintages, generally shifting toward less time in barrel, larger casks and smaller portions of new wood. The fruit is all hand-picked and fermented with indigenous yeasts. The cooler sites, combined with the way Baettig farms and when they harvest, produces fruit with naturally low pH, allowing them to use minimal amounts of sulphur (although with sufficient doses to allow the wines to age and be shipped around the world).  For the Chardonnay, it is all whole-cluster pressed and cold-settled, prior to native ferment in old French barriques. Malolactic fermentation on the Chardonnay is left to happen or not, according to the vintage conditions (with often around a third going through). The élevage for all the wines varies according to the vintage, but the Los Parientes Chardonnay normally spends eight to 10 months in cask, with up to 15% new oak, while the Los Primos spends between 10-15 months in barrel with up to 35% new oak. The new oak for the Chardonnay is all larger 300- and 400-litre casks. A portion of the Pinot Noir is whole-bunch fermented (typically 10-20%), with the rest de-stemmed – with fermentation all in used oak. The Los Parientes stays in barrel for around eight to 10 months, with up to 15% new oak; for the Los Primos, it is 15-16 months, with up to 40% new wood – with the new oak all 300-litre barrels.  For the Cabernet Sauvignon, the fruit is all de-stemmed. Fermentation temperatures are low at around 24-28˚C, with maceration for a maximum 20 days, given the natural concentration and structure of the fruit. The Los Compadres is aged for 10 months in French oak (20% new), while the Los Padrinos spends 15 months in 65% new oak (including around a third in larger 300-litre barrels).  Tasting through the range, there is a clear stamp of style – a flinty restraint, with the emphasis on crunchy fruit and minerality, vibrant acidity, moderate alcohols. While some of the earlier vintages might have offered more overt oak in their youth, this has integrated with time in bottle – and the wines offer at most a subtle spicy complexity. They are beautifully judged, pure expressions of Traiguén.   About the vintages 2022: Generally speaking, 2022 was an outstanding vintage. In Malleco, the year was cooler than average. Winter was relatively dry, with little rain in spring and cool conditions including frost in September and October, leading to particularly low yields. Weather warmed up in February before cooling again in March and April, which also saw quite a lot of rain. This resulted in a late harvest of a small crop of fruit, with great intensity, concentration and excellent tension – with high acidity levels retained thanks to the cooler conditions. In the Maule, the season was moderately warm, producing a more generous yield than further south but similarly high quality. The weather here was warmer in December and temperatures close to average from January through to March. Moderate rainfall in March and April refreshed the season and eased the final stage of ripening, with the fruit offering good acidity, colour and aromatic intensity. The 2022s offer an up-front richness of fruit, with good backbone of acidity – in some ways a combination of 2020 and 2021.  2021: The 2021 vintage was a cooler year – producing wines where the emphasis was on elegance, finesse and tension, perfect for the Baettig style. The winter in Malleco was rainy, with 650mm of water over June and July, laying the groundwork for a good budbreak. Spring was dry and reasonably warm, although a late frost in September reduced yields. Summer was cool, with some rain over December and January (90 mm in total across the two months), allowing the fruit to ripen slowly ahead of a late harvest, developing great aromatic complexity and preserving the acidity levels. These should age particularly well.  2020: This was a warmer year versus 2021, producing richer-styled wines. There was plenty of rain in June and July, however this dried up in August, with little rain for the rest of the growing season. Temperatures rose and the hot, dry conditions allowed the grapes to ripen easily, although an early harvest was key to preserve freshness and tension to complement their natural intensity and generosity. Offering a little more flesh, particularly at this more youthful stage, versus the 2021s, the 2020s are juicy and open, yet with everything in balance. The one we’d pick for drinking now, although there is certainly no rush here.  2016: A rainy winter led on to a cool and rainy spring, with later-than-normal flowering and fruit set and a small crop. Summer was dry and largely warm, and the fruit was harvested early, producing wines that combine refreshing acidity and good density of fruit. The 2016 Los Primos Pinot Noir and Chardonnay were never released, the tiny volumes of Baettig’s first crop, so it was a real treat to taste these special bottles, offering a glimpse of the wines’ ageing potential – with both drinking beautifully.  The vertical: tasting Baettig Chardonnay 2022 Vino de Viñedo Los Parientes Chardonnay: This was really showing well, even though it has only just been released. It’s tight, full of energy, with a punch of minerality, bright taut citrus and crisp green apple. It’s lean and sleek, but with a fleshy, juiciness that makes it hard to resist now. A wine that’s singing. Aged for eight months in 15% new oak. Production: 7,254 bottles  2021 Vino de Viñedo Los Parientes Chardonnay: There’s a lick of lime curd on the nose here, with tightly wound greengage emerging with air. It’s pure and linear, driven with its intense, stony purity, but there’s a pleasing fatness to the fruit behind, with a mouth-wateringly juicy finish and long, saline tang to the finish. Aged for 10 months in only used oak. Production: 16,909 bottles  2020 Vino de Viñedo Los Parientes Chardonnay: The warmth of the 2020 vintage, combined with the cool climate of Traiguén and Baettig’s trademark flinty, lean style, has created a gorgeous Los Parientes in 2020. Now with a few years in bottle, it’s drinking beautifully. The wine remains taut – dominated by vibrant citrus that drives through its core, and the bright acidity brings incredible tension. Yet, there’s also a softness to the wine, with a suppleness to the palate and its ample riper stone fruit that flawlessly complements the mouthwatering zest of the long finish. Punches well above its weight. Aged for 10 months in 10% new oak. Production: 15,240 bottles  2021 Selección de Parcelas Los Primos Chardonnay: The 2021 Los Primos is incredibly impressive – and the step up from Los Parientes clear. There’s a creamy, lactic note on the nose, working alongside lemon curd, honeysuckle and bright citrus and green fruit. There’s a lushness to the fruit, with gorgeous length and energy, outstanding tension and an everlasting finish, with stony, saline minerality that lingers long after the wine is gone. You can drink this now, but it will be even better if you can give it a couple of years in bottle. Aged for 15 months in 35% new oak. Production: 3,480 bottles  2020 Selección de Parcelas Los Primos Chardonnay: Much more open now than the 2021, the 2020 Los Primos is rich and concentrated, with riper white peach fruit and honeyed complexity. There’s a softness to the wine, reminiscent of the suppleness of the 2020 Los Parientes, but additional depth here. It’s round and enticing, still with a backbone of taut acidity, and a long finish with just a touch of oak spice. Hard to resist now, drink this over the next five years. Aged for 15 months in 38% new oak. Production: 4,069 bottles  2016 Selección de Parcelas Los Primos Chardonnay: The first vintage of Selección de Parcelas, with the very first fruit from the Baettig vines, and never released. The 2016 is showing some beautiful development, with honey, sweeter plump peach and nutty complexity. Cooked apple and dried mango sit alongside a zing of limey citrus, with a line of bright acidity that runs through the palate and brings lovely energy. Gorgeous. Aged for 16 months in only used oak. Production: 2,160 bottles  Pinot Noir  2022 Vino de Viñedo Los Parientes Pinot Noir: There is 10% whole-bunch in this vintage, and combined with the youth of the wine, it is shining on the nose – with overt pepper spice, floral perfume and stemmy complexity that makes it aromatically enticing. The palate is pure and bright, with juicy but concentrated mulberry and black cherry, with a saline edge and fresh, chalky purity. Incredibly moreish. Aged for eight months in 14% new oak. Production: 13,205 bottles 2021 Vino de Viñedo Los Parientes Pinot Noir: For this cooler vintage, Francisco opted to reduce the portion of whole-bunch fermentation a little. The wine is bright, crunchy and pure, with a lovely restraint from the extended growing season. Floral tones (rose, violet) sit alongside crunchy red fruit, leading to a palate of effortless purity and length. Vibrant, mouth-wateringly fresh with an earthy, saline finish and very fine tannins. Aged for 10 months in 10% new oak. Production: 13,400 bottles  2020 Vino de Viñedo Los Parientes Pinot Noir: This is in a lovely spot right now – sharing the supple texture of its Chardonnay sibling. It is beautifully elegant, with tealeaf aromatics, gentle spice and crunchy berry fruit. Structurally, it is fine-boned – the fine, chalky tannins adding a graceful outline to the mouth-watering fruit. Gloriously fresh, the finish is saline with the slightest hint of smoke. Dangerously drinkable and incredible value. Aged for 10 months in 10% new oak. Production: 15,180 bottles  2021 Selección de Parcelas Los Primos Pinot Noir: This is such a baby at the moment – and clearly needs time to reveal its full potential. It’s much more savoury than the 2020. There’s some gunflint reduction, but beneath that smoky intensity and an earthiness, alongside the subtle florals, bright redcurrant and raspberry. There’s more grip to the tannin, a tightness to the fruit, but the structure and length offer great promise. A wine of tension. Made with 20% whole-bunch fermentation, aged for 16 months in 34% new oak. Production: 3,409 bottles 2020 Selección de Parcelas Los Primos Pinot Noir: It’s immediately evident that this is Baettig’s Premier Cru – with notably more concentration and complexity. The warmer 2020 vintage produced a vibrant and intense wine, with vivid, juicy red cherry and raspberry fruit, complemented by more delicate floral notes. Alongside the impressive weight of fruit, there’s a pomegranate freshness and mineral line, with the slightest hint of smoke and spice, and a framework of superfine, supple tannins. Made with 20% whole-bunch fermentation, aged for 15 months in 38% new oak. Production: 4,102 bottles 2016 Selección de Parcelas Los Primos Pinot Noir: This was, for me, the star of the tasting. The nose was effortlessly complex, shifting between soft florals, spice, violets and crunchy red fruit, with a dried-earth note too. There was a glorious suppleness here, silken and flowing across the palate, with a fine, chalky texture to the tannin, juicy cherry and a subtle, savoury finish. Beautiful. Everything was destemmed in this vintage and the wine aged exclusively in used oak. Production: 1,440 bottles  Cabernet Sauvignon  2022 Vino de Viñedo Los Compadres Cabernet Sauvignon: This is a glorious expression of bright, modern Cabernet – pure and pristine with crunchy red and black fruit, vivid pencil shavings and an herbaceous green-pepper edge. There’s such intensity to the palate, with its tart red berry fruit, mouth-wateringly fresh and juicy. The abundant fruit is framed by graphite tannins, leading on to a spicy finish. Aged in 20% new French oak for 10 months. Production: 17,000 bottles  2022 Selección de Parcelas Los Padrinos Cabernet Sauvignon: The first vintage of Los Padrinos is only offering more since we first tasted it in February. It’s strikingly different to Los Compadres – a much darker, spicier and smokier expression. The two wines share their tension, with firm acidity that forms the backbone of this wine and drives the long finish, as well as gloriously crunchy and fresh fruit. The nose is savoury and brooding at first, but sweeter plum and cassis fruit lurks behind, while there’s a tart, bright bite to the palate. It still feels compact at this youthful stage, the power and gum-drying tannins needing time to unfurl. Aged for 15 months in 65% new French oak. Production: 1,800 bottles  Explore all current listings of Baettig or read more Editorial

Last month, we welcomed Francisco Baettig to London, guiding us through a vertical of his stunning Chardonnay, Pinot Noir and new Cabernet Sauvignon from Chile’s south. Here, we unpack the Baettig story, style and how each vintage of this exciting project is drinking right now

Tasting through a vertical of Baettig’s Chilean wines: Chardonnay and Pinot Noir from Traiguen, Malleco, and Cabernet Sauvignon from the Maule

Baettig vertical, tasting these top Chilean wines

The story so far: Baettig vertical

I. Distractions In 1987, when I was 18 and a dollar was worth more than twice as much as it is today, I started reading magazines: M, Esquire, GQ. Nearby, in our somewhat cultured Texas town, a new bookstore opened in a cavernous space that had formerly housed the shag-carpeted roller skating rink of our childhood. Through the front windows, which had before been darkly tinted to give the place an alluring den-of-prepubescent-iniquity vibe, now streamed bright, clean light, showcasing a look and layout that would become the interior design gestalt of today’s national-chain, big-box book superstore. The rows upon rows of open, dustless shelving bearing a veritable warehouse of volumes; the ceiling hung with its industrial innards on display; the enfilade of check-out cubicles; and the wall – the great wall – that displayed a preposterous-to-behold assortment of glossies, quarterlies, journals, newsweeklies, fanzines, tabloids, almanacs, and all other flora and fauna of magazines arrayed upon a rack perhaps 50 feet long.  I went in there to look for a book. I liked books, and, one day, I was sure I wanted to write one. But I got distracted and bought a magazine instead – that August’s issue of GQ, which still stands out in my mind as a thing of formative significance. At that time, the zeitgeist was defined by a Walkman-wearing version of the American Renaissance Man – the highly-ambitious, status-obsessed, money-motivated, health-nut known as a Yuppie. No magazine positioned itself more authoritatively in defining this new sociological creature’s lifestyle than GQ, and it did it with whiter teeth, snappier suspenders, better accessories, bigger polka dots and more caffeine in the ink of its display copy.  I remember that issue less for the photos by Richard Avedon or Steven Meisel, the words of Martin Amis or Frederick Exley, than for this: Erzeugerabfüllung. It was one of the longest, strangest strings of letters from the Roman alphabet I had ever seen. Neither did it seem designed to come out of someone’s mouth. But there it was in Alan Richman’s Wine & Spirits column, accompanied by a lovely still-life photograph of his topic: two bottles of Riesling Kabinetts on a white, sun-dappled tablecloth. Richman’s main point – made almost 35 years ago – still holds true: estate-bottled, table-quality German wines remain some of the least expensive, most delicious wines in the world, chiefly because – then as now – the labels, as he wrote, “cannot be understood by anyone who is not a part-time oenophile, linguist and cartographer”. One US dollar in Richman’s pocket, as I have already said, bought what roughly two-dollars-and-fifty-cents does today; what he was on the hunt for was a good dry white in a range that would now cost somewhere between 12 and 30 bucks, and he easily accomplished that by finding a dealer in New York City who carried a good selection of wines from the Mosel and Rheingau. At the time, I didn’t know the meaning or significance of any of this, but it staked a claim in my brain. The only wine I had ever tasted was the one served at our Episcopal church during Eucharist on Sundays. The flavour it had was of a strange, super-concentrated jam that somehow warmed your upper body. Even as a young kid, I liked it. But the adjectives these German bottles were squeezing out of Richman – “citrus-like”, “honeyed”, “tart-sweet” – weren’t close to describing what was in that chalice, even if you believed in transubstantiation. Was it because Richman’s wine was white, and the parish’s was red? Perhaps, but both colours of grape juice bottled by Welch’s tasted pretty much the same to me. No, I sensed there was something – a lot – I had to learn, and, along with the romance and beauty of the labels, and the contextual air of well-bred taste and cultural with-it-ness featured on the other pages, this, I feel sure, was the decisive moment, the true origin point, when I came to believe that among the many extraordinary things that make life worth living, not just words but wine reigns at the top.  I warned you about distractions, didn’t I? Because that would be my excuse for now informing you, as a quite apropos footnote, that, yes, there was something unusual about our church’s Communion wine. It was, as I have confirmed with the church, actually port (Taylor’s Tawny, to be more accurate), cut, according to tradition, with water. There is a good and fascinating reason for this. In 1701, when the War of the Spanish Succession kicked off, France also became an enemy of England, and its wines, as a result, were no longer made available for import. The Anglican Church searched for and found a replacement, the fortified wines of its new ally, Portugal, and port continues to be an acceptable option to pair with the Host.  II. Distillations A satisfying story, not unlike a satisfying life, is one that surprises you with the mystery of its unfolding. A thing pulls in a certain direction long enough to reach the proximity of something else which then turns toward a new destination. I had actually gone into that bookstore, as I said, to look at books. But I came out, even though I didn’t yet know it, with a different compass point. Within a few years, shortly after graduating from college, in 1992, I got hired by The New Yorker, where I stayed for almost nine years. I then met my future wife, who wisely laughed at the thought we might be able to survive in New York City on my meagre salary, so I went to Vogue, and soon after became the founding editor of Men’s Vogue. After 23 issues, and four years, the financial crisis laid an axe to many magazines, including that one. Eventually, I took on the editorship of Town & Country. Then, finally, in 2016, I moved up to Esquire, the magazine, as it happens, that didn’t offer me a job when The New Yorker did, and became that storied magazine’s editor in chief, until – well, you best read about that in The New York Times.  As far as distractions go, magazines were a good one. They made me who I am, gave me a tremendously worldly education, honed my taste, introduced me to all manner of accomplished people, required me to build quite a wardrobe, and paid me pretty well to do all of this, often with a glass of wine not far out of the picture. There was really no other way I would have ever got to taste all the bottles I have (a lot of the big names people whisper about from Burgundy and Bordeaux, Champagne and also Piedmont, Tuscany and Napa). I built a modest cave à vin of my own by buying the Smith Haut Lafittes of the world way before hedge-fund hoi polloi ran up the prices, and by having access to rare offerings, like 12 bottles of Fiorano, the legendary white wine Alberico Boncompagni Ludovisi, prince of Venosa, made before ripping out all his vines. I smelled the musty perfume of Margaux in the cellar as I watched the workers rack the wine by candlelight. I lured Jay McInerney away from the Wall Street Journal to become my wine columnist; and I once stood in Bordeaux’s town square, tight on 2002 Pétrus, trying with great focus to commune with the statue of Michel de Montaigne while my French friend, a true oenophile, extolled the majesty of the Big Mac’s special sauce.  As the editor of a magazine, curiosity is your profession, even to the point of distraction. Editors – writers, too – are prone to it. It’s a hazard of the gift, and having a jumble of ideas, if you’re any good, is key to making a magazine of any real intellectual or creative daring. Now as a husband and father of three, working from home and trying to be ‘present’, and a still youngish former editor and occasional micro-influencer trying to stave off the solitude to fathom and plot the next phase of a fruitful future, this skill of mine, the strength of which became even more magnified over two decades, is something of a family project.  The way I most often hear the word ‘distraction’ now, for instance, is when it’s being hurled at me in verb form by my wife or daughters accusing me of being more of a phone-enslaved screen vegetable than they are. (I respectfully disagree.) But it’s a sore point for two reasons. One, what I did as an editor is, in a nutshell, now what a smartphone essentially does. Not very imaginatively, of course, and not with taste or charm or originality, but with a bloody, money-grubbing ruthlessness that stalks every step of our digital peregrinations and doesn’t give a twist if the algorithms that are its brain make us its slave by retrofitting our attention spans for kindergarten.  The smartphone – not the former me or any of my fellow kind still in the media biz – is now the true croupier of culture, dealing out a targeted shuffle of Pavlovian temptations to the point of daily mental exhaustion. And, though this thing is in many ways my personal nemesis, I am, against every fibre of my being, too often its obedient servant. Aiming not to live according to the famous line by T.S. Eliot – “distracted from distraction by distraction” – I recently decided to at least take a serious inventory of my favourite ones, both those of the pre-digital sort (tennis, The Walking Dead, checking the mailbox, my sock collection) and those of the post-digital sort (the any and everything I do because my phone wants me to). Then I caught myself watching tennis on my phone and realised this might be harder than I thought. It’s enough to drive a person to drink, thank god! With that in mind, I like to keep a special something for the occasion around, in this case – what else? – two bottles of Riesling Kabinett, for it had struck me as more than a little weird that I’ve probably tasted fewer than a handful of German wines in my entire life. Part of the reason is that those I had were bad, and, like a lot of other simpletons about this great wine region of the world, I’d come to think of Riesling as a cloying elixir equal parts green Jolly Rancher, apple cider vinegar, and hairspray. This, I knew, was wrong, not true and, in terms of wine equity and inclusion, on the wrong side of history. But, if you happen to live in a place like I do – a bourgie swathe of Connecticut bordering New York City where the shops cater heavily to Cali-Fran-Taly banker’s tastes – it might take you a few stops to find what Richman recommended, an erzeugerabfüllung (estate-bottled) Kabinett (wine made from grapes with a minimum must weight/sugar content) Riesling, and when you do it will probably be coated in a fine sift of years-old dust. I bought a green (Mosel) bottle for US$16 and a brown (Rhine) bottle for US$20, both handsomely labelled. I opened them a few minutes ago and took several investigative swigs. The words bright, invigorating and snappy came to mind. One is indeed sweeter, and, though not my usual jam, it is tamped by a pleasing peachy tartness, and the classic overtone of honey isn’t making my palate feel doused with syrup. The other example is, as Richman said so long ago, a very finely layered creature with mineral clarity and an echo of baked bread, something a gluten-free person like me finds particularly appealing. A rather obvious thought: why haven’t I been buying this instead of throwing a ton of endless money at affordably bad white Burgundy, which is mostly a product aimed at fulfilling a desired outcome, like White Claw hard seltzer? III. Words But don’t let me get distracted, again. A writer really has to be careful about such things. Just think about it. Unlike, say, a painter or musician or actor or photographer, the process of writing requires zero physical exertion, no chance to score an endorphin release while sitting staring anxiously at a blank page. Of the many things in life that vie against the counter intuitive impulse to be glued to a desk, Cyril Connolly, in Enemies of Promise, his classic study of the things that distracted him (and others) from becoming a great writer, names the temptations but does not say much about why they’re so deeply tempting to someone who would otherwise be sitting alone in an empty room. Praise, money, fame, social prominence, affairs and journalism are the most common boltholes, according to Connolly, who, as a famously late sleeper that married three times, might have also added the bliss of unconsciousness and excessive alimony. In 1938, the year the book was published, he would never have imagined how hard the task might get without a cigarette. Smoking is a death wish, I know, but when you want to off yourself for still having a hundred pages to go, being able to snap open a nice lighter, flick some ash, stub a butt and inhale some lungfuls of focus-enhancing nicotine must have been kind of helpful. Connolly also doesn’t have much to say about drink except that artists who drink to excess do so “out of the consciousness of wasted ability”. According to that, the 20th century’s most famous literary alcoholics – Dorothy Parker, Truman Capote, F. Scott Fitzgerald, William Styron, Elizabeth Bishop, James Joyce, Raymond Chandler, William Faulkner – might have left behind even greater treasures than they did. Because Ernest Hemingway did almost everything with more gusto than any of his peers, including running up his bar tab, as a drinker he belongs in his own sentence. He is the novelist who most romanced a good drink or nice bottle of wine as one of life’s great pleasures. Who didn’t want to have a vermouth with Jake when reading The Sun Also Rises? (Don’t, it’s gross, at least if you order it at one of those kiosks in Montmartre where the bottles are hung upside down with spring-loaded dispensers.) Or, track down a bottle of Valdepeñas, Hemingway’s favourite variety of Spanish wine. Or, get a drink at the bar named after him at the Ritz, in Paris, and then go somewhere on the Left Bank to order “a dozen portugaises and a half-carafe of the dry white wine”.  In the early work, he is not boastful about drinking so much as he is the possessor of an unusual appetite for a good buzz. He is also, like Connolly, aware of the need to keep writing separate from drinking, and drinking within his control. It is hard to read the first paragraph of A Moveable Feast, in which he describes an “evilly run café where the drunkards of the quarter crowded together and I kept away from it because of the smell of dirty bodies and the sour smell of drunkenness”, except as a kind of terrifying admonition to himself. It is tragic that he didn’t heed his own advice. Late in his life, Hemingway became fond of rum daiquiris at the Floridita, his favourite bar in Havana, which might explain his taste for a prose style that soon became too often cloying self-parody. In one of the most extraordinary drinking sessions ever committed to words, in the roman à clef Across the River and Into the Trees, a 50-year-old Hemingway, who was smitten with a teenage Italian countess from Venice, fictionalises his infatuation with a last muse. In one stretch (that covers an evening-to-dawn crawl from Harry’s Bar, the grill at the Gritti Palace, a gondola and a hotel room), one half or another of the couple imbibes: one scotch whisky and soda; six Montgomery Martinis (15 parts gin; 1 part vermouth), two of which are described in size as ‘super’; a bottle of Capri Bianco; two bottles of Valpolicella; two bottles of Roederer Brut ’42; and two bottles of Perrier-Jouët. That is, I suppose, one extreme, and, clearly, not one to be tried at home.  The other might have been espoused by Dr. Samuel Johnson, the great critic and lexicographer. As a young man, he’d drained “many a bottle of wine” but loved port especially. (Perhaps Johnson, a devout Anglican who was born in 1709, in the midst of England’s 14-year war with Spain, also first encountered port as a boy at the Communion altar.) He describes himself to friend and biographer James Boswell as having been “apt to go to excess in it”, adding that, “therefore, after having been for some time without it, on account of illness, I thought it better not to return to it”.  Boswell, who worried about his own dependence on alcohol, even keeping a journal of his intake in an attempt to enforce moderation, argued for a third way, which some of the Romantics later adopted. Wine, he claimed, “produces truth; in vino veritas”. Hoping to persuade Johnson of his point, Boswell once convinced the critic to come down off the wagon for just one glass of claret, so Johnson “might judge, not from recollection, which might be dim, but from immediate sensation”. Boswell reports what happened after the glass was emptied: “Johnson shook his head, and said, ‘Poor stuff! No, Sir, claret is the liquor for boys; port, for men,’” adding, “‘A man would be drowned by it before it made him drunk.’”  That actually reminds me of something I think I forgot to mention about Riesling Kabinetts – they’re also highly admired for their low percentage of alcohol. On that note, I think I’ll have another glass.  This article was originally published in FONDATA, Issue Two.

Jay Fielden, former editor of Men’s Vogue, Town & Country and Esquire, recalls how a magazine column on wine, read in a Texas bookstore, shifted his ambitions beyond journalism and set him on the path to becoming a writer of books.

Former Esquire editor-in-chief Jay Fielden reflects on magazines, writing, Riesling Kabinett and the distractions that shaped a life in words and wine.

Jay Fielden on Wine, Words and Distraction

How one became another  

Fort Ross - Pinot Noir

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Fort Ross - Pinot Noir

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