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

Non capita tutti i giorni di poter assaggiare vini prodotti oltre mezzo secolo fa – ma all’inizio di questo mese ho potuto ripercorrere l’Imperial Gran Reserva di punta di CVNE fino all’annata 1947. Victor Urrutia, quinta generazione della sua famiglia alla guida di questo leggendario produttore della Rioja, ha organizzato una degustazione di quella che ha definito “la sporca dozzina” – affiancando 12 annate di Imperial. I vini sono stati scelti per mostrare come il vino si esprima attraverso una gamma di annate – non solo le più celebri, ma le calde, le fredde, le possenti e le mediocri. 
 CVNE produce vino nella Rioja Alta dal 1879, quindi – anche risalendo al 1947 – questa degustazione ha offerto solo un’istantanea della sua storia. Imperial fu creato agli inizi del XX secolo (1917 è l’annata più antica assaggiata dallo stesso Urrutia), concepito come una “super Rioja”, ha spiegato Urrutia. L’idea era di fare il miglior vino possibile, a prescindere dal suo potenziale commerciale, in un’epoca in cui la Rioja non aveva il prestigio di oggi. Si producono circa 50.000 bottiglie, ma – cosa importante – Imperial non viene realizzato in ogni annata, poiché in alcuni anni la qualità dell’uva non soddisfa i rigorosi standard di CVNE (ad esempio non ci sono state le annate 2003, 2006 o 2013, e non ci sarà nemmeno la 2023). 
 Per Urrutia, l’obiettivo con Imperial oggi è riflettere ciascuna annata e mettere a punto il vino piuttosto che cercare rivoluzioni. Le annate più antiche sono il loro punto di riferimento e fonte d’ispirazione. Attraverso le annate, tuttavia, Urrutia indica un naso “da chiesa” – qualcosa che trova distintamente Imperial e che ricorda la cantina. 
 È facile, forse, dimenticare quanto bene invecchi la Rioja – e non solo per un decennio o due, ma per oltre mezzo secolo. L’annata più vecchia di questa degustazione, la 1947, è stata senza dubbio la stella – un vino che ha conservato la sua freschezza, con aromi delicati e un palato magnificamente lungo, puro, risolto. L’intero volo ha impressionato – con la qualità di Imperial a risplendere. Sono comparse alcune delle annate leggendarie della Rioja (la 1970 e la 1959, che siedono accanto a 1982 e 1964 nei libri di storia), ma i miei preferiti personali sono stati la già citata 1947, la 2004 ancora compatta (nominata Wine of the Year da Wine Spectator nel 2013), la cupa 2011 e la graziosa, elegante 2018. I vigneti di Imperial L’uva per l’Imperial Gran Reserva proviene dai migliori vigneti di CVNE, tutti con oltre 40 anni di età e quasi tutti ad alberello, con rese di circa 4.000 kg/ha (equivalenti a circa 25 hl/ha o meno di 1,5 tonnellate/acro). Le parcelle si trovano tutte vicino ai monti Cantabrici, a circa 500–600 metri di altitudine, e su suoli poveri ma freschi (argilla e calcare) – conferendo grande freschezza ai vini, anche negli anni caldi e siccitosi, spiega la storica Direttrice Tecnica María Larrea. 
 Il villaggio di Villalba de Rioja è stato la spina dorsale del vino sin dalla sua concezione. Questo villaggio è il luogo in cui i fratelli Real de Asúa (che fondarono CVNE) acquistarono per primi dei vigneti, quattro chilometri da Haro. I vigneti sono ripidi ed esposti a sud, soggetti ai venti e quindi alcune viti devono essere allevate a cordone speronato (cordón Royat), ma ciò apporta acidità e freschezza al vino – elementi essenziali per il suo potenziale di invecchiamento. Parcelle nei villaggi di Briones e Torremontalbo furono aggiunte in seguito, negli anni ’60. Briones ha suoli più ricchi, pendii dolci e un clima più caldo, conferendo struttura e corpo al vino, mentre Torremontalbo ha pendii ripidi e sassosi con suoli calcarei e una significativa escursione termica, aggiungendo mineralità e finezza al blend. 
 Il blend di Imperial Il blend è cambiato nel corso degli anni, con il vino originariamente attorno al 40% Garnacha e 40% Tempranillo, con il restante 20% Graciano e Mazuelo. I vecchi vigneti erano field blend, con le varietà interfilari e raccolte insieme, implicando livelli di maturazione misti – qualcosa che probabilmente apportava equilibrio e complessità ai vini, anche se parte dell’uva poteva non essere matura. Oggi, ogni varietà è piantata separatamente da CVNE – permettendo maggiore controllo e precisione, vendemmiando ciascuna uva al momento perfetto e componendo il blend in cantina. 
 Negli anni ’70 si è assistito a un allontanamento dalla Garnacha, con sempre più Tempranillo piantato al suo posto. La Garnacha era meno apprezzata, vista come un cavallo da tiro, impressione soltanto rafforzata quando cloni meno pregiati e ad alta resa furono piantati negli anni ’80 e ’90. Come ha anche osservato la Larrea, la Garnacha è molto più soggetta a colatura e acinellatura (scarsa fioritura e allegagione), il che potrebbe essere stato un altro fattore del suo declino. C’è stato anche un periodo, ha spiegato Urrutia, in cui Bordeaux era il punto di riferimento per il vino fine, e si cercava di imitare la regione, privilegiando il Tempranillo per il suo colore più scuro rispetto alla più sottile di buccia e quindi più pallida Grenache. Oggi, il blend è dominato dal Tempranillo (con sia il 2017 sia il 2018 Imperial all’85% Tempranillo), ma la Grenache sta vivendo una rinascita in tutta la Rioja e – a patto di avere il giusto materiale clonale e/o vigneti più vecchi – potrebbe contribuire maggiormente al blend in futuro. 
 La proporzione di Graciano e Mazuelo è stata leggermente ridotta, ma la Larrea sottolinea quanto siano importanti le due uve di fronte al cambiamento climatico. Il Mazuelo (alias Carignan/Cariñena) fornisce struttura e colore, mentre il Graciano apporta acidità e complessità aromatica. La vinificazione Sebbene sia entrata in CVNE nel 1991, María Larrea ha preso in mano la vinificazione di Imperial con l’annata 2005, succedendo a Basilio Izquierdo, che aveva diretto le operazioni per oltre 30 anni (dal 1973). Prima di Izquierdo venne Ezequiel García, noto come “El Brujo” (“Il Mago”), enologo di CVNE per oltre tre decenni (tornò brevemente nel 2014 per ricreare il loro leggendario bianco, Monopole). 
 Attraverso i tre enologi e quasi 70 anni, sorprendentemente è cambiato poco. La vinificazione qui rimane estremamente tradizionale, sebbene la tecnologia abbia permesso al team di monitorare i vini più da vicino e di migliorare l’igiene di cantina, come nella maggior parte delle regioni. La fermentazione rimane indigena, anche se non è più spontanea – i vini vengono inoculati con un ceppo selezionato del loro lievito indigeno dall’inizio degli anni 2010 (con alcuni esperimenti negli anni ’90). Tradizionalmente la fermentazione avveniva in vasche di cemento, ma negli anni ’90 si è passati al rovere, con una sola annata (1994) fermentata in acciaio inox quando le botti non arrivarono in tempo. 
 I vini venivano un tempo conservati in botte e imbottigliati solo al momento della vendita, quindi alcune vecchie annate di Imperial hanno trascorso oltre un decennio in botte, mentre oggi il vino resta normalmente in botte tra due e tre anni. (Le date di imbottigliamento per ciascuna annata sono incluse di seguito – la 1947 non fu imbottigliata fino al 1960!) In origine il rovere era tutto americano, semplicemente perché era quello a cui avevano accesso tramite le loro storiche rotte commerciali, e le botti venivano mantenute per decenni (la Larrea ricorda l’uso di botti di 40 anni quando arrivò negli anni ’90). CVNE ha iniziato gradualmente a introdurre rovere francese negli anni ’80, con circa il 30% di rovere francese negli anni ’90 e circa il 60–70% oggi, con il resto americano. I vini: degustare otto decenni di CVNE Imperial Una nota sulle bottiglie: le annate più vecchie sono in vetro verde, ma si è passati al vetro ambrato circa 10–15 anni fa. 
 2018 Imperial Gran Reserva: Questo è stato un vero highlight della verticale. È ancora molto giovane, fruttato, ma con straordinaria finezza e delicatezza. Il naso è preciso con aggraziati aromi di spezie, grafite e fiori insieme al frutto cristallino. Il palato è succoso e agile, puro, setoso e fresco con tabacco saporito e frutti rossi disidratati che riempiono il finale saporito. Bellissimo e molto aperto, già ora. Fermentato in rovere, 14% alcol e imbottigliato a luglio 2021. 
 2017 Imperial Gran Reserva: Gelate hanno colpito gran parte dell’Europa a fine aprile 2017, sebbene il resto della stagione sia stato relativamente caldo, producendo un raccolto minuscolo di frutta concentrata. È un vino drasticamente diverso dal 2018, ma ancora con grande freschezza e un guizzo floreale accanto a frutta rossa matura e dolce. Il palato è teso, molto meno approcciabile del 2018, con tannini compatti, un morso di acidità croccante e una stretta di tannini fermi, mentre toni affumicati riempiono il finale. Decantare per goderselo ora, ma sarà ancora migliore con un paio d’anni in bottiglia. Fermentato in rovere, 14% alcol e imbottigliato a luglio 2020. 
 2015 Imperial Gran Reserva: Il 2015 Imperial è scuro e intenso, stratificato con ricchi frutti di rovo, cedro, tabacco, spezie e qualcosa di carnoso – forse un accenno di biltong. Il palato riecheggia la concentrazione del naso, con tannini masticabili e una linea di acidità che incide la sua intensità. Potente, quasi severo, con più frutta secca che emerge con l’aria, il finale è lungo e saporito, con un tocco di miso rosso. Fermentato in rovere, 14,5% alcol e imbottigliato a giugno 2018. 
 2011 Imperial Gran Reserva: Un altro spicco della verticale, il 2011 Imperial offre un naso scuro e puro, ancora sorprendentemente primario con frutta di ciliegia nera e cassis, sollevato da un dolce profumo speziato. Il palato è setoso e puro, ancora così giovane, scorre sulla lingua, incorniciato da tannini fermi ma integrati. È concentrato e lungo, con aromi floreali che danzano sul finale succoso. Difficile resistergli, con grande equilibrio. Fermentato in rovere, 13,5% alcol e imbottigliato a luglio 2014. 
 2009 Imperial Gran Reserva: Questo è un Imperial molto serio, ora in una fase di bella maturità – con sottobosco saporito e note speziate accanto al vibrante frutto di bacche scure. Il palato è intenso ma con una morbidezza, nonostante l’impalcatura tannica masticabile. È succoso ed espressivo, con note affumicate, speziate, di tabacco sul finale, e appena un leggerissimo accenno di cuoio che inizia ad apparire. Fermentato in rovere, 13,8% alcol e imbottigliato a gennaio 2013. 
 2004 Imperial Gran Reserva: Da una “annata da manuale”, nelle parole del CEO di CVNE Victor Urrutia, il 2004 brilla. Trucioli di matita e bacon completano frutta matura e scura. Il palato è teso e compatto, ma con una succosità che allunga l’insieme, con un’acidità che guida fino al lungo finale. I tannini sono soffici e morbidi, integrati con il frutto, ma offrono ancora presa sul finale. Luminoso ed equilibrato senza sforzo. Fermentato in rovere, 13,8% alcol e imbottigliato a ottobre 2008. 
 1994 Imperial Gran Reserva: Questa è un’annata intrigante di Imperial, l’unica ad essere stata fermentata in acciaio inox durante il passaggio dal cemento al legno, ma le botti nuove non arrivarono in tempo per l’annata. Fu anche servita al matrimonio del Principe della Corona di Spagna, poi divenuto Re Felipe VI. Dopo il 2004, questo segna uno spostamento verso vini dominati da note terziarie, sebbene qui ci sia ancora molta frutta. Il naso è speziato con fungo e sottobosco accanto a incenso e toni di cuoio. Il palato è carico di umami – con cuoio fresco e frutti di bosco disidratati – oltre a fragole essiccate, tannini morbidi e acidità rinfrescante. Fermentato in acciaio inox, 13,16% alcol e imbottigliato a giugno 1998. 
 1980 Imperial Gran Reserva: Come ha detto il CEO Victor Urrutia, il 1980 è stata “un’annata di merda” – ed è sempre rimasta all’ombra del 1981 e del 1982. Assaggiando il vino oggi, probabilmente è giusto – tuttavia resta un vino impressionante. Il naso ha un accento nettamente erbaceo, mentolato, sulla dolcezza del frutto – fragole macerate, con un accenno balsamico. I tannini offrono ancora mordente, mentre il frutto vira verso toni più scuri e di rovo verso il finale. Fermentato in cemento, 13,4% alcol e imbottigliato a maggio 1985. 
 1970 Imperial Gran Reserva: L’annata 1970 fu calda e produsse vini potenti – guadagnandosi la reputazione di una delle migliori annate della Rioja. Dopo oltre 50 anni, il vino è intensamente saporito – combinando soia, marmite e sentori di stalla con frutto scuro intenso. Con l’aria, il vino offre strati di spezie (quasi reminiscenti della paprika), bacon frazzles e mandorle affumicate, a complemento del concentrato nucleo di frutto. È intenso ma equilibrato, con acidità brillante che mantiene tutto fresco e riempie il lungo finale. Fermentato in cemento, 12,97% alcol e imbottigliato a marzo 1975. 
 1968 Imperial Gran Reserva: Da un’annata più difficile, il 1968 Imperial ha un naso affascinante che combina senza soluzione di continuità il salato e il dolce – con una ricchezza terrosa che siede accanto a frutto di bosco intriso d’incenso e una gradevole nota erbacea. Il palato è elegante e vibrante, con ancora molta frutta che guida attraverso il suo nucleo, mentre note più saporite e affumicate dominano il finale. Fermentato in cemento, 12,7% alcol e imbottigliato ad aprile 1974. 
 1959 Imperial Gran Reserva: L’annata 1959 è un’altra tra le più lodate della Rioja, sebbene sospetto che questa bottiglia non si sia espressa al meglio. C’è una morbidezza e intensità al palato, con una spinta acida affilata, mentre il naso è dominato da cuoio, liquirizia nera e sentori di stalla. Fermentato in cemento, 13% alcol e imbottigliato a febbraio 1968. 
 1947 Imperial Gran Reserva: Un vino straordinario da assaggiare, il 1947 CVNE Imperial ha una reputazione – che questa bottiglia ha più che confermato. Note di caffè e tabacco con frutto brillante – ciliegia rossa matura e lampone, oltre a fiori, incenso, tè nero e salvia, accanto a un profumo affumicato. È lungo e fresco al palato, senza soluzione di continuità e pienamente risolto ma puro e persistente, con un accento di Bovril sul finale che è vibrante e lungo. Splendido ora – bevetelo finché ne avete l’occasione. Fermentato in cemento, 12,4% alcol e imbottigliato ad agosto 1960. 
 Esplora tutte le etichette CVNE, inclusa una gamma di vecchie annate di Imperial Gran Reserva, o leggi altro Editorial

All'inizio di questo mese, CVNE ha ospitato una degustazione irripetibile del suo Imperial Gran Reserva. Sophie Thorpe esplora cosa rende questo vino così speciale e come si è evoluto nel corso di otto decenni.

Exploring CVNE’s flagship Gran Reserva Rioja, Imperial, back to 1947 at a once-in-a-lifetime tasting with CEO Victor Urrutia 

Tasting CVNE’s Imperial Gran Reserva Rioja 2018-1947 

Un'icona attraverso i secoli: Imperial Gran Reserva di CVNE

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

It is hard to write the history of the future, but I hope that I am on safe ground when I say that the global pandemic of 2020 will be the defining event of the early 21st century. I say ‘hope’ because God help the human race if there is anything more defining waiting around the corner. By saying as much, I do not in any way diminish the other spectres that have haunted the dawning decades of the third millennium: among them mankind’s age-old companions, intolerance, religious fundamentalism and greed. Nevertheless, the pandemic has humbled humanity in a new and special way, combining our oldest foe, disease, with swift, easy, international travel – until recently one of the most central aspects of our technical and cultural advancement. Death and destruction, like everything else in life, are neither evenly nor democratically apportioned. Nevertheless, there can be few, if any, people on the planet whose lives have been untouched. Maybe there is a tribe of rainforest-dwelling Pygmies, cut off from what we hubristically call civilisation and which continues to exist in a state of prelapsarian Stone-Age ignorance. But the rest of us have been simultaneously confronted by our mortality, the fragility of our lives and, in many cases, the vacuity of our dreams. We reacted in different ways, retreating into what we found comforting. Some (yes, you, David Geffen) used social media to let the world know that they were safe on their yachts. Others explored the restorative powers of one of the most fundamental and symbolically domestic of rituals: baking bread. My own reaction was somewhere between these two poles. Within just a few days of the pandemic being declared in the UK, I had taken to the virtual airwaves with films – exquisitely directed by my younger son – of me smoking cigars with my elder son and dilating on the joys of the fragrant blue smoke of Havana cigars. Trivial perhaps, superfluous almost definitely, but to me immensely significant. It is hard to express the emotional impact of this activity without resorting to cliché, but then clichés tend to be clichés because there is an element of truth in them. And while the term ‘intergenerational male bonding’ is an arid form of words that traduces the emotional value of the experience, it also begins to explain its worth. But more than just finding a new way of communicating with my children, I like to feel that I am passing on something from which they can derive satisfaction; I was first inculcated into the world of the cigar by my stepfather-in-law – who splendidly encapsulated the appeal as being “the feeling of well-being” derived from learning how to wield this refined instrument of pleasure. Pleasure and well-being are the inspirations of these broadcasts (as I rather self-consciously, antediluvially, call them), and to my surprise they established a moderate but relatively enthusiastic following. Given that I am old enough to have children in their 20s, I am also old enough to regard the idea of using a telephone to make a home movie that has no actual physical presence, and that can be viewed via another intangible medium, as being pretty close to witchcraft. I find it remarkable that as many as 15,000 people – most of whom I have never met, living I know not where – tuned in to watch two men in slightly extravagant clothes (we wore safari suits, cowboy outfits, boating blazers, dinner jackets, business suits and tweeds) set fire to tubes of tobacco and try and convey a sense of the flavours they were tasting. But more than a degustatory sensation to be relayed, it was, in its way, an act of cultural transmission that in its essence is not very different to the role of say, indigent troubadours that wandered the courts of 12th and 13th century Provence, or the griots of the Mali empire of the 14th century, telling stories of noble exploits of the past. As we sat amongst its fragrant swirling wisps and gossamer tendrils; the sacred smoke of the cigar would unlock the past and liberate fragments of memory from wherever it is that memories are imprisoned and presumed forgotten. As we shared the flavour and the experience, recollections of my visits to Havana over the last quarter-century would be summoned unbidden – oxymoronic though that may sound. I remembered names of rollers, long conversations with factory directors and days spent in the fields of the plantations. I recalled meeting an ancient torcedor who had started work as a child and he remembered rolling cigars for Winston Churchill. I was reminded of a long afternoon spent on the terrace of the simple home of the late Alejandro Robaina, the Cuban tobacco farmer, whose time-furrowed face would give the pachydermic features of W.H. Auden stiff competition. He sat in his rocking chair and retrieved his own memories of how the climate had changed over the course of a generation, and of the taste of his first cigar, enjoyed before the age of 10 during the 1920s. However imperfectly, I was able to transmit these memories to my children in a setting and an atmosphere that made those memories theirs too. It is the associative power of the cigar to stimulate memory that raises it beyond the mere intake of nicotine, and instead elevates it to the level of a cultural activity. Proust had his madeleine and I have my cigar. I pick the cigar because it has been a personal comfort during a difficult time, but the same can be said to be true of any skill-laden and ritual-rich activity that is passed from generation to generation. I enjoy traditionally made clothes and I find the idea appealing that many hands contribute to the making of a single garment. It may be better-made than its ready-to-wear counterpart, it is likely to last longer and fit better – but these are only the tangible aspects. At the risk of sounding pretentious, there is what one might call a spiritual element to having clothes made. There is something uniquely appealing about clothes that have been made only for you and it is an appeal to which I succumbed almost 40 years ago. I first got into having clothes made for me long before I could afford it, when, as an undergraduate at Oxford, I fell under the spell of a charming old tailor called Stamp, Mr Stamp to his friends. He was a fabulous old boy with a shop on Broad Street, or The Broad as I believe we were encouraged to call it at the time, just down from Castell where he had started as an apprentice half a century earlier during the 1930s. He made me a pair of trousers, a blazer and few other items including several remarkable waistcoats. One of the best moments came when I took in a 50-year-old, double-breasted waistcoat for him to copy. He looked at it, examined a label sewn into the underside of the backstrap, peered at the stitching around the buttonholes, and then told me that the garment had been made for a well-known Spitfire test pilot, gave me the price of the fabric per yard in 1936 and – most impressive of all – informed me of the name of the man who had stitched the buttonholes.  My first shoemaker Eric Cook also beguiled me when he took a look at a pair of Lobb correspondent shoes, turned them over and was able to identify the man who had finished them because of the slightly elliptical curvature of the heel and the spacing of the nails.  For me, such knowledge is just as impressive as that of the connoisseur who can identify a long-lost masterpiece by examining the brushstrokes and the state of the canvas or wooden panel on which the paint was laid. But, unlike the admiration of an acknowledged masterpiece by a globally renowned artistic genius, the quality of such pleasures is more personal and, arguably, more meaningful. It was Franz Liszt who said, “A good Cuban cigar closes the door to the vulgarities of life,” but the same is true of the contemplation of a well-sewn buttonhole, or the anglage of a well-finished watch movement. Such pleasures may be only fleetingly experienced, but I would argue they are all the more precious for their intimacy: watches and clothes are worn on the body, the cigar is consumed – becoming in some way part of the body and stimulating the mind. These are things that ornament life, that raise the quotidian to the memorable and that transcend the disagreeable nature of too much of life today. I suppose that this is what is meant by ‘luxury’. I had been hoping to get to Paris to catch an exhibition, at the Musée des Arts Décoratifs, devoted to the controversial subject of luxury, mounted under the aegis of my friend Pierre-Alexis Dumas, creative director of Hermès, who understands the field better than most. “While the luxury object resists definition by any single concept, drawing instead on shifting, eclectic visions, we might nonetheless agree that it possesses one distinctive characteristic above all others,” he told me. It is, he believes, “an object we keep, respect and cherish, one that archaeological discoveries across the globe reveal as speaking timelessly to us, its human power undimmed, resonant with distant emotions. Today, at a time when luxury seems to hold omnipresent status, in the media and in social networks, it is perhaps pertinent to recall that the luxury object is precisely one that is preserved and passed on – a magnificent, enduring conduit of culture and knowledge, bearing witness to human ingenuity.” The overuse of the word ‘luxury’ has led to its trivialisation, but there is a sense in which the pandemic has helped me transmit to my children something of my view of its true meaning. In a world of ever abbreviated communication, the chance to spend time in contemplation of what I love with those I love has been a gift – and the suspension of the ceaseless restless turmoil that we regard as normality, has shorn many so-called luxury items of their status-conferring function, allowing us to see them for what they are, to winnow the impostor from the authentic. I hope that I have conveyed, however clumsily, what it is that I appreciate, and uncovered something of the culture and values that make them important to me. My sons are fascinating people, their company is genuinely instructive for me, I see things anew through their eyes and this in turn has added further richness to life’s pleasures: not just appreciating the intrinsic qualities of, say a cigar or a suit, but in enhancing that appreciation by seeing it reflected in my children. It is a powerful combination of culture, emotion and enjoyment. Whether a vessel of personal memory, a conduit for the great values of humanity, or a bulwark against the deadening combination of fear and tedium of recent months: the superfluous, to misquote Voltaire ever so slightly, has seldom been so necessary. This article was originally published in FONDATA, Issue One

Writer and author Nicholas Foulkes considers the notion of transmitting cultural knowledge and enthusiasms from one generation to the next – and how finding joy in the seemingly trivial details of the objects he values has brought him closer to his sons. 

Photography by Julian Broad.

Nicholas Foulkes considers the notion of transmitting cultural knowledge and enthusiasms from one generation to the next.

FONDATA: Foulkes & Sons 

Foulkes & Sons  

2019 Meursault, Premier Cru, Gouttes d’Or, Louis Jadot Gouttes d’Or is one of the cooler Premier Cru sites in Meursault and therefore excels in warmer vintages. It was certainly one of our picks from Louis Jadot in 2019. It has a beautifully rich golden colour and a lovely expressive florality on the nose. It is pure opulence on the palate, full-bodied, exhibiting huge, spherical breadth which fills the palate. Honeyed melon, yellow plum and white peach fruit are in abundance but the wine tightens up nicely on the finish. This is a wonderfully intense and serious Chardonnay. 2019 St Aubin, Premier Cru, La Chatenière, Joseph Colin The talented Joseph Colin (brother of Pierre-Yves Colin Morey) continues to impress with his superb range of whites. This dry, stony plot gets an hour less sun, shielded from the rising sun by the slopes of En Remilly/Dents de Chien – an hour that makes a huge difference in the resulting wine, which was a stand-out from the range. On the nose, it’s pretty, floral, dainty and mineral, while the palate is soft and supple, with the most  extraordinary silken texture. By contrast, the flavour profile is tightly wound, with a mineral line, concentrated citrus and subtle white blossom. Ethereal yet powerful, it will be a joy to watch this evolve. 2019 Puligny-Montrachet, Premier Cru, Clos de la Mouchère, Domaine Henri Boillot Guillaume Boillot is particularly pleased with the 2019s – with their perfect balance and, for the whites, a real floral character that runs through the range. The four-hectare monopole vineyard Clos de la Mouchère is always a favourite – this sub-section of Perrières producing a particularly honeyed expression of the site. There’s a real roundness to the wine in 2019; it’s soft, intense and long. Vibrant citrus fruit and minerality drives the wine, but there’s a suppleness that surrounds a core of real energy. With air, notes of white nectarine, acacia honey and freshly cut hay emerge – adding richness and weight. Particularly concentrated and fine. 2019 Vosne-Romanée, Premier Cru, Les Suchots, Domaine Lamarche Nicole Lamarche has no doubt made some of the most ethereal reds in the vintage. Picking at least a week earlier than most of her neighbours, all her wines sit comfortably below 13.6% alcohol. Her winemaking is reliant on her continual tasting of fruit, must and wine to dictate her vinification processes. Every cuvée is approached differently. Despite this bespoke approach, the consistency across the board is commendable. It makes it difficult to pick a favourite in the range but her Suchots is incredibly serious – competing with wines 10 times its value. It is an endorphin-releasing Pinot Noir in which the purity of fruit and exceptional balance leaves you forgetting about flavour and thinking about feeling. It reminds you how good red Burgundy can be with fantastic terroir and an adept hand. 2019 Clos de la Roche, Grand Cru, Domaine Georges Lignier Benoît Stelhy believes 2019 is “amazing”, the vintage of his career – or at least he did until 2020 arrived. No less, the 2019s here are superb, although there’s sadly not a lot of them – with yields down by up to 50%. His Clos de la Roche really shone at our tasting. Delicate florals combine with crunchy red fruit to make a truly delicious wine. It’s intense, with the tannins building subtly in the mouth – they’re round and soft, yet coat the cheeks and gums. The sweetness of the new oak (40%) coats the dark fruit, while the palate has a savoury freshness thanks to the whole-bunch (30%). It finishes long, with a chalky line and redcurrant bite. 2019 Beaune-Grèves, Premier Cru, Le Vigne de l’Enfant Jésus, Bouchard Père & Fils Frédéric Weber at Bouchard thinks 2019 is “a huge vintage for the future” – and the domaine’s iconic Vigne de l’Enfant Jésus is case in point. This section of Les Grèves Premier Cru is the “filet mignon” of the vineyard – the most desirable section, right in the middle of the slope, with well-drained gravelly soil which tends to ripen earlier. The resulting wine has a distinct spicy, floral nose – think black pepper, cloves and violets, with a toasty edge. There’s real richness and weight, with a luxurious creaminess to the wine on the palate, which is laden with muddled black berry fruit, cut by chalky minerality and juicy raspberries. Vibrant, balanced and concentrated with seamless tannins, this is superb. 2019 Chambertin Clos-de-Bèze, Grand Cru, Olivier Bernstein The wines of Olivier Bernstein are a masterclass in dynamism. The wines feel so alive when you taste them. It’s hard not admire Olivier Bernstein’s honesty when he says how each of his cuvées take it in turns to show up: one week the Clos de la Roche might be flexing its muscles, another week it is the Mazis-Chambertin. The Clos de al Roche was one of the highlights of a spectacular set of Grands Crus in 2018, a vintage Bernstein believes to be his best, but another favourite was the Chambertin Clos-de-Bèze which effortlessly ticks all the boxes for what you want in a Grand Cru. The tannin structure is built like a cathedral, so detailed and compact, while at the same time fleshing out on the back-palate and providing so much breadth. The berry fruit remains precise and fresh, and distinctly red-fruited, while the finish is sapid and saline. It is truly a magical wine. 2019 Vosne-Romanée, Premier Cru, Les Malconsorts, Domaine du Clos Frantin, Albert Bichot The Albert Bichot wines continue to improve under Alain Serveau’s stewardship. They are the largest owners of Malconsorts, with 1.76 hectares of this excellent Premier Cru. In 2019, there’s something almost imperial about the wine – both sophisticated and opulent. The nose fills with a richness of red cherries, complemented by a touch of plum. The palate is intense and tight, the tannins fine and supple. Laden with ripe, bright red berry fruit and juicy acidity, it’s a gorgeous wine in 2019. 2019 Corton, Clos des Cortons Faiveley, Grand Cru, Domaine Faiveley Faiveley today is the sixth-largest domaine in Burgundy and, despite its expanding size, the wines are only getting better – most notable with a change in winemaking from 2006, shifting to a much lighter touch during extraction. The renovation of their magnificent winemaking facilities in Nuits-Saint-Georges has also improved their ability to find detail and distinct personality in each of their wines. With huge barrel cellars, they are also able to have extended élevage to 16 to 18 months, creating wines with great volume and integration. The true star of their extensive collection of vineyards in the Côte d’Or must be the monopole Clos des Cortons Faiveley Grand Cru. The detail on the nose is extraordinary – dried aromatic tea interspersed with pristine red berry fruit, blood orange and a gorgeous vinosity. The spectrum of flavour is staggering, whie remaining succulent and generous in both breadth and concentration. It’s another remarkable wine in a fantastic vintage for the estate – albeit with 30% less made this year. 2019 Clos des Lambrays, Grand Cru, Domaine des Lambrays Domaine des Lambrays’s flagship site is almost but not quite a monopole, with an ouvrée – less than 0.2 of the total 8.84 hectares – at the bottom of the clos belonging to Taupenot-Merme. Yields here were down to a measly 15hl/ha in 2019 – although winemaker Jacques Devauges assigns this partly to their ongoing conversion to organics, but the quality is clearly there. Most of the vines (71%) date from between 1898 and 1935, while the lowest section of the vineyard is 40 years old, and 3% of the vines are spritely 20-somethings. It was fascinating tasting the three sections of this large Grand Cru separately and then as a blend, seeing how each one contributes its own character.  There’s the exoticism of the side near Clos de Tart; the more angular, structured and firmer top section; and the intense, vibrant fruit of the lowest part of the vineyard. Combined, the wine has remarkable concentration – much more than a sum of its parts, building gradually on the palate with layer upon layer of bold, blueberry fruit and sweet-savoury spice, yet plenty of the vintage’s moreish acidity. As Jacques said rather modestly, “You want to drink it.” We might be inclined to go a little further, given the quality and ageing potential on show here – but it’s hard to resist now. Explore all current Burgundy listings 

There was no shortage of brilliant Burgundy wine in 2019 – and narrowing down a list of favourites from the many superb wines we tasted wasn’t easy. These 10, however, stood out in the year's enviable line-up

There was no shortage of brilliant Burgundy wine in 2019. These 10 wines stood out in the year's enviable line-up

Our favourite 2019 Burgundy wines

Burgundy 2019: our favourites

2019 BOURGOGNE BLANC, DOMAINE DE MONTILLE The specific clones of Chardonnay used in De Montille’s Bourgogne Blanc make it particularly special. Most Bourgogne Blanc is made with higher-yielding clones which have a tendency towards dilution; but De Montille’s Bourgogne Blanc comes from a single site that borders Puligny-Montrachet, planted exclusively with low-yielding clones. This shines through with impressive density on the palate. The wine retains that mineral-edged De Montille style, fleshed out with pear and juicy white melon fruit. 2019 CORTON-CHARLEMAGNE, GRAND CRU, HENRI BOILLOT While not exactly cheap, the Boillot wines still offer great value – competing happily with the likes of Leflaive, Coche-Dury and Ramonet. In 2019, their wines really shine – balancing the concentration of fruit with thrilling acidity. Their Corton-Charlemagne is extraordinary – the power of this site instantly in evidence. The wine is a coil of minerality and citrus, poised and wound tightly. There’s a smokiness to the nose, with a struck-match intensity countered by what feels like a tsunami of fruit – lime, green apple and white peach. Mouth-filling and rich, expansive yet zesty, the acidity drives an astonishingly long finish. Muscular, poised, razor-sharp and full of potential. 2019 CHABLIS, GRAND CRU, LES CLOS, REMOISSENET PÈRE & FILS Remoissenet has friends in high places – and although we can’t say who, one of the region’s most respected and collected producers sources their Chablis. Their wines are – unusually for Chablis – 100% barrel-fermented, producing texturally rich, powerful wine that cleverly never loses its sense of place. In 2019, this opulent style has never suited the vintage better. The nose of Les Clos is very pure with fine, subtle florals. Notes of comice pear, crystallised lemon rind and dried citrus fruit oscillate with the rounded, rich and creamy texture of the wine. The oak is layered over a very pure core of fruit, with a classic sunny Les Clos typicity. On the finish, the wine tightens up nicely and ends with real mineral focus and salinity. Superb. 2019 SANTENAY, BIEVAUX, ALVINA PERNOT The Bievaux vineyard belongs to Alvina’s grandfather Paul Pernot and has long been the family’s favoured site for Pinot Noir. High up on the hill and directly south-facing, the vineyard benefits from ideal sun exposure and cooling diurnal influences, producing a wine with lovely texture and balance. The tannins are fully resolved but the wine has energy and spark too. These 40-year-old vines produced a fantastically juicy, moreish wine in 2019 (at a great price).  2019 CHAMBOLLE-MUSIGNY, DOMAINE HUDELOT-NOËLLAT Charles van Canneyt only made 25 barrels of his village Chambolle this year, versus the normal 40 – which is a particular shame given the quality. It’s a blend of 11 parcels from all around the appellation, to give a true “village” wine. He opted for no punch-downs in 2019, as the skins gave up their colour and tannins so quickly. The resulting wine is surprisingly dark and intense in style, such is the concentration of the year. Nevertheless the wine has a real crunch of red fruit, with amazing acidity and elegant tannins.  2019 GIVRY, PREMIER CRU, CLOS DE LA SERVOISINE, DOMAINE JOBLOT We could have put any of Joblot’s wines in this list – such is the value offered by this superb Givry producer. This south-facing plot is next door to Cellier aux Moines – which Joblot also works with, and tasting the two alongside each other is a treat, with such contrasting styles. This is the brighter of the two, with more lift and perfume on the nose, but the palate reveals darker and more savoury depths. Concentrated bramble fruit is framed by chalky tannins and vibrant acidity. Delicious. 2019 MERCUREY, PREMIER CRU, LE CLOS DU ROY, DOMAINE FAIVELEY The Faiveley family (now in its seventh generation) is today France’s 35th richest family – but it was railway technology, rather than wine, that made their fortune. It means that winemaking for the domaine these days is a purely qualitative affair, with a no-expense-spared approach taken with all their wines. This really is a winwin for the drinker. Being the largest producer in the Cote Chalonnaise, their Mercurey Premier Cru Le Clos du Roy is not only exceptionally made, it is also extremely well-priced. In 2019, this wine has captured the dynamism in the best examples of the vintage, full of energy with lovely crunchy red berry fruit and a sapid salinity on a long finish. Incredible quality for the appellation.  2019 SAVIGNY-LÈS-BEAUNE, PREMIER CRU, LA DOMINODE, DOMAINE JEAN-MARC & HUGUES PAVELOT Hugues Pavelot has crafted a wonderful range in 2019 – toning down extraction given the ripeness, and turning up the whole-bunch to add freshness (with between 15 to 30% on the Premiers Crus). La Dominode was a star of the tasting, however. It manages to effortlessly combine a subtle, chalky grip with a silk-like mouth-feel. The fruit is ripe, smooth and lush but also crunchy and bright – a mouthful of crushed raspberries and blueberries with a burst of redcurrant acidity rushing through the palate. There’s a mineral freshness to this full yet fine wine. Lovely. 2019 VOUGEOT, PREMIER CRU, LES PETITS VOUGEOTS,  DOMAINE HUDELOT-NOËLLAT Charles van Canneyt has 0.5 hectares of this Premier Cru, sandwiched between Clos de la Perrière and Le Clos Blanc. It’s one to watch – and a site that Charles thinks is benefiting from global warming, thanks to its limestone soils. In 2019 the wine is dark, rich and intense but with bright, sweet berry fruit that also has a vibrant crunch to it. Refreshing acidity balances the plush, dark cherry fruit on the palate, while delicate notes of violet florals and black tea fill the finish.  2019 CHEMIN DES MOINES DE VERGY, DOMAINE GROS FRÈRE & SOEUR, VIN DE FRANCE This is only the third vintage of this delicious curiosity from Gros Frère & Soeur. Planted in 2014 and 2015, this plot sits at the top of the Côte, beyond the borders of the Burgundy appellation (hence its Vin de France status) and at high altitude. Overlooking the Grands Crus of Vosne-Romanée, the vines are trained high – with a full 2.5 metres’ worth of canopy to capture as much sunshine as possible at these cool and dizzy heights. The resulting wine is supple, soft and bright, with crunchy sour cherry and redcurrant fruit. Light and fresh, with a long finish of vibrant acidity, it’s a fun addition to the range – and one that will be interesting to follow in the coming years as temperatures continue to rise. 2019 VOLNAY, PREMIER CRU, DOMAINE GEORGES LIGNIER The Lignier family line runs through Benoît Stelhy’s mother’s side, but his father’s side also as vines, with 46 acres in Volnay and 12 in Pommard. They’re old vines and he buys the grapes in, although works closely to manage the vineyards in the same way as his own, with grass cover all year. He picks the fruit himself though with family and friends helping – “It’s a little bit like we go on holiday,” he tells us, travelling down to the Côte de Beaune to harvest, normally on a Sunday morning. His Premier Cru Volnay was a treat to taste – pretty and perfumed, it’s laden with bright, crunchy red berries, but there’s a mineral line that lends finesse. Dainty, fine and truly delicious. 2019 MOREY-SAINT-DENIS, PREMIER CRU, CLOS SORBÉ, DOMAINE HENRI & PHILLIPE JOUAN Philippe Jouan’s wines certainly fly under the radar – and with the current quantities produced, this is unlikely to change anytime soon (with just three hectares in total). However, the little wine produced here is an honest rendition of some exceptional terroir in the Côte de Nuits – and, with the 2019 vintage, the wines have never tasted better. Our pick of the range was his MoreySaint-Denis Premier Cru Clos Sorbé, one of the top Premier Cru sites in Morey. The wine is wonderfully intense with an expressive, complex nose of lavender, rosebush and incense, while the palate is ripe and juicy with sun-kissed wild blackberry and blueberry fruit. 2019 CHAMBOLLE-MUSIGNY, PREMIER CRU, LES CHABIOTS, ALBERT BICHOT Les Chabiots sits above Les Amoureuses – pedigree that seems to escape most people. It’s singing again in 2019, a delicate and fine-boned wine with a nose full of violets. But don’t let its prettiness deceive you, there’s plenty of power to back it up – with a core of raspberry and bright red cherry fruit, supported by a backbone of minerality. The tannins are seamless, the acidity fine and long. Tight and taut, this is outstanding. Browse all Burgundy or explore more Editorial

The wines that really overperformed in the 2019 Burgundy vintage. We think offer the best bang-for-buck this year – from Bourgogne Rouge to Grand Cru Chablis

Exploring 2019 Burgundy that overperformed, including Hugues Pavelot Savigny, De Montille’s Bourgogne Blanc, Corton-Charlemagne Boillot and more

Burgundy 2019 top-value wine buys

Burgundy 2019: top-value buys

Bodegas Roda has always strived to be a modern force in Rioja – not dictated by tradition and the region’s strict requirements when it comes to ageing. The estate was founded as recently as 1987, by Mario Rotllánt Solá and Carmen Daurella de Aguilera, who enlisted the help of Rioja expert Agustín Santolaya. Since then it has quickly risen up the ranks and is today regarded as one of the region’s top producers.  From the start, their philosophy has been centred around sourcing the finest clones of Tempranillo. It has proven to be remarkably successful in producing very pure expressions of Rioja, not dominated by oak, but that also age beautifully. These wines are some of Spain’s most exciting, sitting amongst a cohort of producers dedicated to finding the true potential of the country’s indigenous grapes, with old vines and top terroirs. Only made in the best vintages, Cirsion is Bodegas Roda’s top wine – a wine that defies the notion that the best wines should see the longest oak maturation. On the contrary, Roda’s Cirsion sees the shortest time in oak of all its cuvées – just six to eight months, depending on the vintage. The wine was first made as an experiment in 1997, with just 3,000 bottles. The aim was to celebrate Tempranillo’s character by using fruit from only the oldest vines and best clones. Each vine would be individually assessed and picked at optimum ripeness. The result is a wine with seamless tannins and exceptional fruit purity. Cirsion’s appearance on the wine scene challenged the idea that highly concentrated Tempranillo required significant oak ageing to tame its astringent tannins. Roda proved that if the grapes are good enough, the fruit could shine without a cloaking of oak. Despite the shorter time in barrel, tasting through older vintages proves the wines’ ageability. Winemaker Agustín Santolaya remembers at the release of their first vintage that the critics found it so accessible they thought it wouldn’t age well. Tasting the 2004 today is proof they were wrong. The wine is still maturing, full of life and all the more complex for it, as the tertiary notes mingle with beautifully fresh fruit and fragrant heather notes. At the heart of the wine is a core of pristine fruit, something that is retained even with age. It is a wine of great purity and elegance. Tasting through older vintages of Cirsion shows how the balance and quality of fruit in a wine is essential, and sometimes more important than oak ageing, when it comes to producing red wines that will age effortlessly. Bodegas Roda wines 2004 Cirsion There is a real brightness to the 2004 and today it sits firmly in its drinking window, although the overall balance and concentration will see it hold here for some years yet. It has a really inviting nose of red aniseed and dark spice alongside more tertiary moss and forest floor notes. The fruit is on the darker black berry spectrum with vibrant acidity making it feel so lively on the palate. There is lovely volume and weight to the wine, the tannins now fully resolved and melded with the fruit. (100% Tempranillo, 14.5% alcohol) 2009 Cirsion A key principle of Cirsion’s philosophy is to show the imprint of the vintage, the wine made entirely from that vintage – not such a common practice in Rioja. This is abundantly clear when tasting the 2009 and 2010 side by side. As Santolaya admitted, the ‘09 is a lot more tannic and less resolved than both the ’10 and ’04 – likely, he believes, the result of water stress in what was a very warm and dry (Mediterranean) vintage. The ’09 is texturally layered with lots of lovely ripe fruit and still silken, but with a bitter twist on the finish. It is a less typical vintage for Cirsion and, versus the exceptional 2010, a little more ordinary, but still very good. (100% Tempranillo, 14.5% alcohol) 2010 Cirsion The 2010 today is still very youthful – but the balance is fantastic – the tannins are plentiful but silken, the wine full of energy, with mouth-watering acidity and a dense, coiled-spring-like tension to the palate. At 11 years of age, the tertiary flavours are only just beginning to show. It has years ahead of it and will be wonderful to taste with another five years in bottle. The 2010 really captures the Cirsion philosophy of fruit purity above all else. The 2010 has proved to be a great vintage for Roda all round. (100% Tempranillo, 14.5% alcohol) 2018 Cirsion The 2018 is the latest release and while its tannins are nicely ripe and resolute, tasting alongside the 2010, you feel Cirsion (despite its youthful approachability) really benefits from at least five to 10 years in bottle. Its puppy fat stage is still quite oak laden, but again, the refined tannins are impressive and rare to find in Tempranillo of this concentration and richness. It will no doubt blossom with more time in bottle. (90% Tempranillo and 10% Graciano, 14.5% alcohol) Browse all Roda listings or read more Editorial

Bodegas Roda has always done things a bit differently in Rioja. Their prestige cuvée Cirsion is a perfect example, proving the top wines of the region don’t have to be dominated by oak

Exploring how top Rioja doesn't always have to be dominated by oak, with Bodegas Roda and the perfect example of their prestige cuvée Cirsion 

Finding Tempranillo’s true potential

2021 RICHEBOURG, GRAND CRU, DOMAINE HUDELOT-NOËLLAT From a mere 0.28 hectares, this is a seductive and regal Grand Cru in 2021. The aristocracy of this site shines through, with haunting perfume and sumptuous depths to the sweet fruit. It’s elegant yet rich, with nuanced, smoky tones and outstandingly fine tannins that add texture to the long and plush palate of this very fine Pinot Noir. A remarkable wine. 2021 LATRICIÈRES-CHAMBERTIN, GRAND CRU, DOMAINE DAVID DUBAND Duband’s Latricières comes from a 0.3-hectare plot of 60-year-old vines in the Grand Cru, sandwiched between plots that belong to Leroy and Chantal Rémy. In 2021 it’s spicy and perfumed – the wine leaping out of the glass. Florals, pepper and incense mingle with bright yet delicate crushed raspberry fruit. Silken and fine-boned, this is beautifully elegant, with a long mineral finish. 2021 CHAMBOLLE-MUSIGNY, PREMIER CRU, LES CHARMES, REMOISSENET PÈRE & FILS This pretty Chambolle combines predictable florals and sweet strawberry with an almost blackcurrant note. The palate is lush and long, with chalky structure and crushed-raspberry fruit. It’s a wine, however, that is all about its finesse – effortless and fine-boned Pinot Noir. 2021 BEAUNE, PREMIER CRU, LES TUVILAINS, DOMAINE GEORGES NOËLLAT Maxime Cheurlin’s range is charming in 2021 – and this was a particular highlight. The nose is bright, with raspberry lift and brightness – but it’s concentrated and pure. A wave of soft, crushed wild strawberry washes over the palate – bright and pure, yet with a darker edge to it. The tannins are powdered and fine, adding the slightest grip to the palate. The finish is long and savoury. 2021 MOREY-SAINT-DENIS, PREMIER CRU, LES SORBÉS, CHARLES VAN CANNEYT Charles van Canneyt’s line-up this year is superb. This Morey-Saint-Denis Premier Cru with free-draining soils produced a silken wine. The fruit here is dark yet bright, with a beautiful density to the palate – a vivid concentration and mouth-watering freshness, building to a crunchy, red-fruited finish. 
2021 CLOS DE LA ROCHE, GRAND CRU, OLIVIER BERNSTEIN From vines that average 50 years in age, this offers incredible density – especially in 2021. The nose is pure dark cherry, not revealing much at this nascent stage. Like a gawky teenager, it’s waiting to reveal its potential, but the palate offers glimpses of what lies ahead – with smoky, savoury tones, fine – almost Italianate – dusty, tannins and bright juicy red fruit, building towards an elegant, nuanced finish. Impressive. 
 

2021 CLOS DES LAMBRAYS, GRAND CRU, DOMAINE DES LAMBRAYS Domaine des Lambrays’s flagship site is almost but not quite a monopole, with an ouvrée – less than 0.2 of the total 8.84 hectares – at the bottom of the clos belonging to Taupenot-Merme. Yields here were slashed in half in 2021, not helped by now farming biodynamically. Most of the vines (71%) date from between 1898 and 1935, while the lowest section of the vineyard is 40 years old, and 3% of the vines are spritely 20-somethings that are currently de-classified. It is fascinating tasting three sections of this large Grand Cru separately and then all the parcels as a blend, seeing how each one contributes its own character. We started with the firm, linear Plante Bas, then the more expressive, prettier Cerisiers on the Clos de Tart side, and the intense, powerful 50 Ouvrées. Combined, the result is intense, silken and long. It’s round but focused, with incredible energy and the finest texture. Gorgeous floral perfume adds a lightness to the fruit – an explosion of red cherry that fills the palate, making it seem approachable even now. A fresh, herbal twist makes the finish utterly moreish. 2021 PULIGNY-MONTRACHET, PREMIER CRU, CLOS DE LA MOUCHÈRE, DOMAINE HENRI BOILLOT Boillot’s four-hectare monopole Clos de la Mouchère is always a favourite – the shame in 2021 is that he made less than 20% of the normal production of this flagship wine. This sub-section of Perrières produces a particularly honeyed expression of the site. It’s a real step up and contrast to the already impressive village Puligny, with intense and powerful fruit expression. Cooked apricot, white peach and Amalfi lemon peel leap out of the glass, yet on the palate it’s incredibly tightly wound – with a concentrated core that will need time to reveal itself fully. The acidity here is exhilarating, driving through the fruit to a saline finish lifted by a sherbet freshness.  2021 BIENVENUES BÂTARD-MONTRACHET, GRAND CRU, ALVINA PERNOT In 2021, this is laden with generous, almost heady fruit – peach and pineapple making for a voluptuous wine that envelops you. It’s creamy and layered on the palate with incredible texture that builds with sweet spice adding complexity. It’s concentrated, full and rich with real Grand Cru concentration. Only two barrels made.  2021 CORTON CHARLEMAGNE, GRAND CRU, DOMAINE FAIVELEY The Corton Charlemagne was the last wine of our tasting at Faiveley this year – and what a way to finish. They managed to harvest just 12hl/ha from this site, one that normally is never hit by frost, yet was in 2021. The resulting wine is beautifully concentrated, with a chalky, bright citrus nose. It’s open and sunny, yet also taut – with a line of vibrant, limey acidity that runs through the entire length of the wine. The citrus fruit is complemented by light, honeyed notes and white blossom. 
Browse all available Burgundy or read more about the vintage 

The 2021 vintage in the Côte d’Or produced some wonderful wines – perfumed Pinot Noir and taut Chardonnay, wines that will appeal to classic Burgundy-lovers. Of all the wines we’ve tasted so far, these are our 10 favourites 

Discover our top 10 wines tasted from the Burgundy 2021 vintage so far – from up and down the Cote d’Or

Our favourite wines from Burgundy 2021

Burgundy 2021: our favourites

Baden

Germany

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