Featured Producer
Domaine Costal / Henri Costal
Domaine Costal / Henri Costal is a unique collaboration between the well-known Chablis producer Domaine Jean Collet and Kermit Lynch. The project began with a simple barrel tasting with Kermit and led to a custom label, custom vinification, and bottling process exclusively for the American market. The end result of this first tasting was a terroir-driven Chablis from a single vineyard site called Truffières, loosely translated as “site where truffles grow.”In 2018, owner Romain Collet was digging through his family’s archives and found the original label that his great-grandfather, Henri Costal designed and used when he founded the domaine. Romain proposed that we revive this historical label and use the Henri Costal name. In keeping with our desire to preserve historical European wine styles as well as labels, this was a natural fit. Beginning with the 2017 vintage, all wines from our collaboration with the Collet’s will be labeled as Henri Costal.
Domaine Costal / Henri Costal continues to produce the “Les Truffières” bottling and recently they have added bottlings from the premier crus Vaillons and Mont de Milieu. The vines are worked organically and Kermit and the Collet family together agree on a blend of stainless steel, foudre, and barrel vinifications. Our bottlings are not filtered or cold-stabilized—a true rarity in Chablis. The skill of the Collets and their excellent terroirs combine to give us wines of extraordinary purity and finesse. There is no mistaking it—one taste and you are in Chablis territory: zesty minerality, wet stone, freshness and nervosity.
Domaine Pierre Guillemot
Kermit says he has several great memories of visiting with the Guillemots, and his favorite happened about fifteen years ago when Robert Parker asked us to arrange a big tasting of our Burgundy selections. It took place in the cellar below our Beaune office, and Mr. Parker approved Kermit’s suggestion that we invite the winemakers to the tasting. The place was packed and there were over two hundred red and white Burgundies to taste. Pierre Guillemot was there with his big belly and bristly moustache. Everyone loved having him, because he wowed them with comparisons of certain wines with various characteristics of the male and female genders. Kermit noticed at some point in the morning that Pierre had quieted down. He looked over and saw that, as Pierre tasted, he did not avail himself of a spit bucket. Suddenly there was an “Alors, au revoir, à bientôt j’espère,” and up the stairs he went. Kermit followed and watched Pierre walk away, awfully close to a Charlie Chaplin pantomime of a drunken French vigneron weaving down the street, barely able to stand up.The Guillemot family has worked Savigny-lès-Beaune vines for eight generations (!) and produces wines with classic Burgundian finesse and balance, all while leaving us a reminder of Savigny’s rustic character. Guillemot is one of the quintessential KLWM producers, with wines that epitomize the local terroir and emphasize grace and elegance over power and structure. But do not be fooled into thinking that this means they lack aging potential; the Guillemots are very proud of their old wines and thankfully have the foresight to set aside a good supply and follow their wines’ development over the years. A recent tasting at the domaine included a 1989 and 1975 Savigny Blanc (that’s 35 years old, everyone!), as well as the ‘90, ‘88, ‘85, ‘82, ‘76, ’72, and ‘64 Rouge. There was not a single tired bottle in the bunch. We challenge anyone to find a better deal on Burgundies that are built to last like these!
Domaine Ostertag
To call André Ostertag a revolutionary winemaker is to tell just half the story. He is a pioneer, certainly, but also an ardent environmentalist (as demonstrated in both his wine and his sculpture, another passion). After training in Burgundy, André returned to the family domaine in Alsace with renewed zeal: he lowered yields considerably and introduced viticultural and vinification techniques from other regions to his own home ground. The 1996 vintage marked his first collaboration with KLWM, and the following year he brought biodynamic viticulture to his fourteen hectares of vineyards, including his flagship parcel in the Muenchberg Grand Cru.There is poetry to Ostertag’s practices. He looks for the nuance of terroir rather than the typicity of a grape varietal. In an act of rejection against the official classifications dictated by the A.O.C., he made up his own categories: Vins de Fruit that express fruit character rather than that of a specific vineyard site, Vins de Pierre reflecting the terroir from which they originate, and Vin de Temps that rely on time and weather to encourage the development of botrytis. He ferments the majority of his wines completely dry, so their versatility at the table surpasses that of many other wines from the region. In Ostertag’s experience, a careful use of oak subtly enhances the traditional Alsatian varietals from the Pinot family, giving them greater depth on the palate. He uses oak sourced exclusively from the Vosges Mountains and, for his Pinots, prefers barriques to the traditional foudres. He rejects formulaic, scientifically engineered wines, and since going biodynamic in 1997, has been an active member of the natural farming community. As he so beautifully explains in Kermit Lynch’s Inspiring Thirst,
…true quality is that which succeeds in surprising and moving us. It is not locked inside a formula. Its essence is subtle (subjective) and never rational. It resides in the unique, the singular, but it is ultimately connected to something more universal. A great wine is one in which quality is contained. Such a wine will necessarily be uncommon and decidedly unique because it cannot be like any other, and because of this fact it will be atypical, or only typical of itself. (p 279)
That is a quote we wish more wine critics would take to heart.
Blog posts on Domaine Ostertag:
White Wine For Aging? It Is Time To Look To Alsace
Château Ducasse
Hervé Dubourdieu’s easy charm and modest disposition are complemented by his focus and ferocious perfectionism. He prefers to keep to himself, spending most of his time with his family in his modest, tasteful home, surrounded by his vineyards in the Sauternes and Graves appellations. Roûmieu-Lacoste, situated in Haut Barsac, originates from his mother’s side of the family, dating back to 1890. He also owns Château Graville-Lacoste and Château Ducasse, where he grows grapes for his Graves Blanc and Bordeaux Blanc, respectively. In the words of Dixon Brooke, “Hervé is as meticulous a person as I have encountered in France’s vineyards and wineries. Everything is kept in absolutely perfect condition, and the wines showcase the results of this care – impeccable.” Hervé is incredibly hard on himself. Despite the pedigree and complexity of the terroir and the quality of the wines, he has never been quite satisfied to rest on his laurels, always striving to outdo himself. This is most evident in his grape-sorting process for the Sauternes. Since botrytis is paramount to making great Sauternes, he employs the best harvesters available, paying them double the average wage to discern between the “noble rot,” necessary to concentrate the sugars for Sauternes, and deleterious rot. Hervé is so fastidious that he will get rid of a whole basket of fruit if a single grape with the harmful rot makes it in with healthy ones to be absolutely sure to avoid even the slightest contamination. Another thing that we love about Hervé is that he would rather entrust the selling to us than be away from his vines, so he lets us buy the lion’s share of his production. This is an important factor in keeping wine of this quality at so low a price.Roûmieu-Lacoste is in the climat of Haut Barsac, an area famous (and in fact more renowned historically than the Sauternes appellation as a whole) for its particularly robust, powerfully styled moelleux with pronounced acidity. The vineyards are just across the road from First Growth Château Climens on a similar soil: calcareous clay on fissured rock, peppered with red iron, white limestone, and grey flint gravel. The Graville-Lacoste property produces a Graves Blanc, known primarily for its stony soil composition and fresh minerality. This wine and the Bordeaux Blanc of Château Ducasse are very different from others from their appellations: Hervé blends a high proportion of Sémillon (60%) and a splash of Muscadelle (5%) with Sauvignon Blanc (35%), creating a rich, full, aromatic mid-palate to complement the clean finish. These are the perfect go-to whites that pair well with anything from fish to poultry, picnic fare to Indian curries.
Grange des Pères
Attaining cult wine status is not an easy feat, and certainly not when the odds are stacked against you. Laurent Vaillé has achieved what others thought impossible. Having spent his early career training under such masters as Jean-François Coche-Dury (Meursault), Gérard Chave (Hermitage), and Eloi Durrbach (Domaine Trévallon, Provence), he settled in the l’Hérault of the Languedoc and purchased his own land in 1989, near Aniane. In this area of the region, where the limestone is hard and abundant and the soil poor, no one thought he would ever have any success planting a vineyard on his plot of choice. Though it took dynamite and bulldozing to clear twice the amount of limestone, boulders, and glacial scree that is found in neighboring vineyards, he found a great terroir for his grapes. He did not have to look far to find ideal bud wood, either. He sourced his Syrah, Marsanne, and Roussane cuttings from Gérard Chave and his Cabernet from Domaine Trévallon. Laurent’s South-facing vines get very low yields, normally from twenty to twenty-five hectoliters per hectare. All are pruned in the gobelet style. The simultaneous restraint and power of his wines makes them ideal for aging. As for the skeptics, they are currently eating their words. His area of the Languedoc has since become known to produce some of the greatest wines in the region, with the new appellation of Terrasses du Larzac, of which he is technically part, reaping attention and praise. In his words, “Nature gave us a partition of land. It is up to us to interpret it.”
Portelli
In the southeastern corner of Sicily, west of Modica and Ragusa, the town of Vittoria is the home of Sicily’s sole DOCG (Italy’s strictest form of wine certification), known as Cerasuolo di Vittoria. Cerasuolo is an enlightened blend of Frappato and Nero d’Avola, and the two grapes when blended create a harmonious symphony of flavor and texture. Well-made Cerasuolo has a medium-bodied, sensual, seductive personality, and the Portelli family has mastered this fine example of southern Sicilian charm.Alessandro is the fifth generation of the Portelli family to tend their land, and currently works with his father Salvatore. The estate was founded in 1863 by Basilio Portelli who was succeeded by his son, grandson, great-grandson, and great-great grandson to arrive at present day. The family grew their own grapes, vinified their own wine, and sold it in bottle, long before most others in the area. Their original winery was in use from 1863 to 1959, and their initial export markets were England, Malta, and Germany. The Portellis were among the first growers in the Vittoria area and welcomed many others over the years.
The Portellis have mastered the maceration and extraction to get the most out of their grapes—their wines are loaded with charm and luscious fruit while possessing plenty of structure on the backend. They grow two varieties: Frappato and Nero d’Avola, the latter known locally as Calabrese. Calabrese shows much more elegance here in the soils of Vittoria than it does in other areas of Sicily, where it tends to earn its keep as a wine of brawn and power. The Portellis are crafting Calabrese with elegance and refinement, country charm wrapped in suede. Their Frappato, while the most fruit forward wine they make, is no simple quaffer!
The Portelli family's wines are fresh, vibrant, and joyful to drink, all while being faithful representatives of their native land.
Welcome to a new KLWM standard.
Domaine Roland Lavantureux
With a sharp eye, natural instinct, and solid Burgundian pragmatism, Roland Lavantureux made a name for himself crafting no-nonsense Chablis that has come to be one of the most reliable of the old reliables here at Kermit Lynch Wine Merchant. Upon his completion of wine school in Beaune, Roland founded the domaine in 1978 in the town of Lignorelles, about four miles northwest of Chablis. Today, his two sons have taken over the Domaine: Arnaud is in charge of the vineyards and cellar, while David takes the lead in marketing and sales. In addition to making a stunning Chablis, the Lavantureux family also bottles a mouth-watering Petit Chablis, which, depending on the vintage, can easily rival their more highly pedigreed bottling—only proving the unwavering consistency of the Lavantureux family that has kept our relationship with them so strong for over thirty-five years.The region is best known for its Kimmeridgian soils, a highly prized terroir of limestone and clay infused with tiny, fossilized oysters. The intensely chalky sea-shell minerality lends deep complexity to whites, making this region an ideal home for the Chardonnay grape. The Portlandian soils in the extension of the Chablis appellation, known as Petit Chablis, may not enjoy the same reputation as the Kimmeridgian, yet they imbue the wines with a crisp, lively freshness and zesty, citrusy aromas that speak to the deep mineral component of northern Burgundy. There is no accounting for these imaginary appellation boundaries, because the pedigree of the wines is palpable. As Roland once told Kermit, “I don’t know why the INAO named some vines ‘Chablis’ and others ‘Petit.’ When I stand in the middle of my vineyard, the row to my left is Chablis, to the right it is Petit Chablis, but you can’t see any difference.”
Since joining the family operation, the young Arnaud and David have shown remarkable ambition and precision in their work ethic: they have increased the family holdings to twenty-one hectares, adding single-vineyard cuvées while constantly striving for more complexity and layered texture in the mineral-driven beauties they produce. The Lavantureux wines display show-stopping nerve, to be enjoyed as easily before dinner as they are with a piece of grilled fish or oysters-on-the-half-shell. These wines drink as honestly as the people who make them; they are staff favorites year after year.
La Viarte
From a young age Giuseppe Ceschin had a great passion for wine, studying enology as soon as he was old enough and traveling around Italy gaining experience working for wineries in various regions. With the support of his wife, Carla, he followed his dream to Friuli, where the couple worked for thirteen long years before seizing an opportunity to purchase 35 hectares in Prepotto, near the border of Slovenia. The land was a long way from ready, but the Ceschins saw their future in it and dedicated the next decade to the hard labor of building terraces and planting new vineyards. In 1984 the family finally celebrated their first harvest and the realization of their dream. They chose the Friulian word for springtime as the name of the estate since it was the beginning of a new era in their lives.Giuseppe and Carla’s son, Giulio, says that he “grew up with their dream, breathing their passion, which helped me discover the fascinating world of wine.” Giulio and his wife Federica expanded La Viarte to 41 hectares, including 17 hectares of forest that they conserved to maintain the area’s ecological balance. After several decades managing La Viarte, Giulio decided to sell the estate to Alberto Piovan, bringing in outside management to ensure the long-term financial health of the property. Alberto has continued the focus on local heirloom varieties, such as Friulano, Ribolla Gialla, and Schioppettino, and has embraced the passion, perfectionism, and technical capabilities of the Ceschin family. He has shown both his talent and his creative side in bringing exceptional new wines to market recently, such as a lightly sparkling, gently sweet Verduzzo, and deep, complex, incredibly age-worthy Pignolo Riserva. He is also producing some of the best Refosco, Cabernet, and Merlot in Friuli. With the investments Alberto has made in the vineyards and in the talent of his team, this estate is going to continue to be a lot of fun to follow in coming years.
Domaine Hippolyte Reverdy
Hippolyte Reverdy’s family has been making wine in the charming village of Verdigny, a commune of Sancerre in the eastern Loire, for many generations—perhaps as far back as 1600. Traditional in nature, the farm was planted to multiple crops, and the Reverdys raised goats and made small quantities of wine from their own vines for local consumption. It was not until the end of World War II that Hippolyte began increasing his Sauvignon Blanc and Pinot Noir production, selling it to accommodate increasing demands from Paris. Hippolyte and his three sons began bottling small quantities under their own label, although the lion’s share of the grapes was still being sold off to the local cave coopérative. Michel joined his father and brothers in 1971, shortly after finishing high school. Kermit began working with the domaine for the first time in 1983. Shortly after, the passing of Michel’s father and the untimely deaths of his two brothers brought a climate of sadness to the domaine. Michel was left with his mother to bear the burden of loss and to assume the responsibility of running the farm alone. Slowly but surely, Michel has found his own rhythm. After tasting a Sancerre rouge from the domaine, Kermit asked Michel to craft one for him in the traditional demi-muids, and specified that he would like it unfiltered. Once convinced of the quality, Michel expanded the winery to accommodate these new reds. Since then, his rouge is the talk of Sancerre, one of a kind.Today, Michel farms fourteen hectares of vineyards on his own. Chris Santini, our man in France, writes of Michel, “His dedication is total. He’s one of the few remaining vignerons in France who truly live like a paysan [peasant]. No vacation, no travel, ever. He’s happy just to stay on the farm, working seven days a week, and wanting nothing more and nothing less…[Michel] plans to keep working the land until he physically can’t get himself out to the vines any longer.” In earlier days, Kermit considered the Sancerre blanc very good, with great typicity, although since Michel has taken the reins, Kermit says that Reverdy has since “become the benchmark domaine of our day.”
Domaine Tempier
Of all of the domaines we represent, no other serves more as our cornerstone, stands more in the defense of terroir, and is more intricately interwoven with our own history, than that of the iconic Peyraud family of Domaine Tempier. The pages that Kermit has written about them alone rival those of his dear friend, Richard Olney, who wrote the definitive history of the domaine and was the first to introduce Kermit to the family in 1976. Their story might be considered mythic if it were not true.When Lucie “Lulu” Tempier married Lucien Peyraud in 1936, her father gave them Domaine Tempier, an active farm that had been in the family since 1834, near Le Plan du Castellet, just outside the Mediterranean seaport village of Bandol. Tasting a pre-phylloxera bottle of Domaine Tempier Bandol (a wedding gift from his father-in-law) inspired Lucien to research the terroir of Bandol extensively. Up until that point, old vineyards planted with Mourvèdre had been systematically replanted to higher-yielding varietals. However, more research not only showed its historical roots to the area, but the grape proved to be more resistant to oxidation, producing wines with great aging potential. By 1941, with the assistance of neighboring vignerons, Lucien worked with the I.N.A.O. (Institut National des Appellations d’Origines) to establish Bandol as its own A.O.C. Needless to say, large-scale replanting of Mourvèdre ensued, and Bandol now requires a fifty percent minimum in all reds. Lucien will forever be celebrated as the Godfather of Bandol, but also as the man who revived Mourvèdre to its former glory. Raising deep and structured wines of such refinement and longevity has made Domaine Tempier truly a grand cru de Provence.
Lulu and Lucien raised seven children, and nourishing family, friends, and wine lovers at table is a regularly celebrated tradition at the domaine. Much of that is attributed to Lulu, the beautiful, Marseillaise materfamilias who has carried on the great Tempier family ritual of serving guests fresh, cool rosé, hearty, soulful reds, and copious amounts of delicious homemade Provençal cuisine. Her traditional hearth cooking has attracted attention throughout France, even bringing Alice Waters over from California to learn in Lulu’s kitchen. When Lucien retired, sons François and Jean-Marie shared management of the domaine with François in the vineyards and Jean-Marie in the cellars. The two made a formidable team. Though Lucien passed away in 1996, and his sons have now since retired, the torch has been passed to the young, energetic, and talented Daniel Ravier, who has just the right savoir faire to carry on the great tradition and style of the domaine.
Beyond our affection and the enduring bonds of our friendship, objectively the celebrity of Domaine Tempier also lies deep in the soils of Bandol. Variations of clay and limestone soils between the vineyards produce wines that are undeniably world class. Whether it is the cult following they have established through their refreshing, age-worthy rosé (once praised by Robert Parker as the greatest rosé in the world), their Bandol Blanc, or the distinctive cuvées of Bandol rouge, the wines of Domaine Tempier stand as the proud benchmark when talking about Provençal wines. Through their passion, pioneering, and advocacy for Bandol, the Peyrauds have become legendary. We are fortunate to have their wines serve as the flagship of our portfolio, and even more grateful to have the Peyrauds and their extended family as cherished friends. If any wine can be said to have soul, it’s Tempier.
From the Blog
From the archives...An Evening with Aubert de Villaine
by Kermit Lynch
[From the July 1997 Newsletter]
Bouzeron, population 151, is a little tail’s end of a village in Burgundy where winter’s night can fall with an especially icy clunk. Its three or four streets were already dead and deserted when I drove up to Aubert de Villaine’s iron gate last November. Actually I was running a bit late, so after a handshake we descended straightaway into the cellar and its heady smells of earth, oak, and newborn wine.
Aubert de Villaine has a ready sense of humor and an enviable combination of lucidity and discretion. When I picture him, I see him just breaking into a smile, a playful gleam in his dark, intelligent eyes. Having known each other for more than 20 years, we always have too much to talk about, so our tastings bounce chaotically from comic asides to catching up on friends and family to wine trade gossip and a no-holds-barred critique of whatever we are tasting.
[caption id="attachment_7238" align="alignright" width="309"] Aubert de Villaine (© Gail Skoff)[/caption]
Of course we begin with his Aligoté de Bouzeron, considered Burgundy’s best, and Aubert said that personally he prefers 1996 to 1995. I said 1996 ($14.95) seemed leaner than the 1995. “J’aime bien les vins austères,” he said, contradicting almost the entire American wine establishment.
Then he announced that for the United States he left his 1995 white Burgundy “Les Clous” ($16.50) completely unfiltered. A true stony hillside wine, “Les Clous” always shows more race and structure than flatland Bourgognes, and I must say that it gains by remaining unfiltered because there is more flesh left on that impressive bone structure. He uncorked a 1993, too, which has opened up beautifully. If ever I make a wine, I would hope it shows such subtlety and class.
Aubert’s newest acquisition, a premier cru from Rully, Les Saint-Jacques, is a real prize. (But then, could a de Villaine settle for an ordinary terroir?) The 1995 has a delicious pear-skin aroma and a firm, full palate. The 1994 ($18.95) has so much personality that I made it a Jaded Palate selection, and the 1995 shares that same goût de terroir.
My tasting notes on the 1995 red Burgundy “La Digoine” ($18.50) begin with the word WOW and then I repeat it at the end, too, which isn’t like me. Due to 1995’s short crop, I had to settle for half the quantity I wanted.
His 1995 Mercurey “Les Montots” ($19.95) is something else entirely. “La Digoine” is so pretty a wine, but the terroir of “Les Montots” produces a more tannic, old-fashioned style. “Un vin d’autre fois,” Aubert said. But it also seems to smell of grape skins and stems and freshly cut Pinot Noir. “That is one reason I love the Mercurey,” Aubert said, “because it always recalls that smell of the harvest, you know, working the grapes, the crush.”
Something about the 1995 “Les Montots” made me think of Conrad’s title The Heart of Darkness, and the title would occur to me again before the night was over.
Right about then, as Aubert poured a taste of the 1994 Mercurey, I mentioned that I was wearing espadrilles from Provence, and that my toes were chattering. During wintertime that earthen cellar floor is like standing on an iceberg, so carrying along the 1994 Rully blanc to serve as our apéritif, we walked out into the darkness up to his house.
He built a fire first thing, poured that wonderful Rully, then showed me two new recordings of the Bach Cello suites, one by Yo-Yo Ma, the other by the Russian Mstislav Rostropovich. We decided to “taste” and compare the two performances.
I grew up with the Pablo Casals version of the suites, one of the great recorded performances of the century, so truthfully I was prepared to be a little underwhelmed by the new recordings. The Casals seems soulful, existential, the Rostropovich so emotionally vast. How their cellos seem to sing and speak. The Yo-Yo Ma is more lively, dance-like, but not as subterranean.
Right about then Aubert left to search for another white. Many of you might not be aware that he owns part of another winery farther north, in Vosne-Romanée. Anyway, he returned with a 1967 Montrachet from his other winery, which really hit the spot as we listened to the second cello suite à la Rostropovich.
Aubert began to tell me what he had heard about the actual recording of the suites, which the Russian must have believed will remain his foremost legacy as a cellist.
Rostropovich chose to record the suites in France in the ancient cathedral at Vézelay from which the Crusades were launched because, he wrote, “I saw the rhythm of the internal architecture shorn of all superfluity, with none of the gilt and ornamental trimmings of the Baroque style. I saw the severity of line and rhythm of this vaulted construction, which reminds me so powerfully of the rhythm of Bach’s music.”
Recording took two months. He recorded at the midnight hour, the cathedral silent, empty, except (I’ve been there) for whatever spooky stuff might be emanating from its crypt (which is said to have some remains of Mary Magdalene). Imagine the texture of the cello’s sound in that vast, dark, stone cathedral! And my God it is fabulous as it growls and soars.
We listened to the Sarabande from Suite no. 2. (Film buffs, didn’t Ingmar Bergman use this piece in Through a Glass Darkly? I seem to recall hearing it during a scene in the dark hull of a wrecked ship, with…was it incest, sexual initiation, both?) Is there music that searches deeper? It is terrible and magnificent. The cello’s bow seems to scrape right across your own guts.
While recording, the Russian and his wife lodged with Marc Meneau, who has the three-star restaurant L’Espérance just down the hill from Vézelay. A cellist who apparently has a healthy appetite, Rostropovich might have enjoyed some of our Bourgogne blanc “Henry de Vézelay” from Bernard Raveneau ($12.50), which is made practically next door. I like to think he did.
Back now, though, to Bouzeron, where dinner is served with a 1961 Romanée-Conti. I have, I admit, during my career, enjoyed many an old vintage, but this, this!!! I told Aubert that is has a goût de terroir, mais pas de cette terre. It is from another planet. Tasting notes? Are you kidding? I am in no mood to attempt the impossible. But what a culmination to the evening. Would I have been so receptive to the glorious intricacies of the 1961 Romanée-Conti had it not been for our passage through the Bach Cello Suites? Forget wine-and-food marriages. Here was a fusion of music and wine. The only way I could describe the wine would be to play the music.
And what a voyage the entire evening had been, starting with that first innocent burst of fresh Aligoté.
You can find the latest Bouzeron Aligoté from A. & P. de Villaine here as well as our current selection of wines from Vézelay here.
[From the July 1997 Newsletter]
Bouzeron, population 151, is a little tail’s end of a village in Burgundy where winter’s night can fall with an especially icy clunk. Its three or four streets were already dead and deserted when I drove up to Aubert de Villaine’s iron gate last November. Actually I was running a bit late, so after a handshake we descended straightaway into the cellar and its heady smells of earth, oak, and newborn wine.
Aubert de Villaine has a ready sense of humor and an enviable combination of lucidity and discretion. When I picture him, I see him just breaking into a smile, a playful gleam in his dark, intelligent eyes. Having known each other for more than 20 years, we always have too much to talk about, so our tastings bounce chaotically from comic asides to catching up on friends and family to wine trade gossip and a no-holds-barred critique of whatever we are tasting.
[caption id="attachment_7238" align="alignright" width="309"] Aubert de Villaine (© Gail Skoff)[/caption]
Of course we begin with his Aligoté de Bouzeron, considered Burgundy’s best, and Aubert said that personally he prefers 1996 to 1995. I said 1996 ($14.95) seemed leaner than the 1995. “J’aime bien les vins austères,” he said, contradicting almost the entire American wine establishment.
Then he announced that for the United States he left his 1995 white Burgundy “Les Clous” ($16.50) completely unfiltered. A true stony hillside wine, “Les Clous” always shows more race and structure than flatland Bourgognes, and I must say that it gains by remaining unfiltered because there is more flesh left on that impressive bone structure. He uncorked a 1993, too, which has opened up beautifully. If ever I make a wine, I would hope it shows such subtlety and class.
Aubert’s newest acquisition, a premier cru from Rully, Les Saint-Jacques, is a real prize. (But then, could a de Villaine settle for an ordinary terroir?) The 1995 has a delicious pear-skin aroma and a firm, full palate. The 1994 ($18.95) has so much personality that I made it a Jaded Palate selection, and the 1995 shares that same goût de terroir.
My tasting notes on the 1995 red Burgundy “La Digoine” ($18.50) begin with the word WOW and then I repeat it at the end, too, which isn’t like me. Due to 1995’s short crop, I had to settle for half the quantity I wanted.
His 1995 Mercurey “Les Montots” ($19.95) is something else entirely. “La Digoine” is so pretty a wine, but the terroir of “Les Montots” produces a more tannic, old-fashioned style. “Un vin d’autre fois,” Aubert said. But it also seems to smell of grape skins and stems and freshly cut Pinot Noir. “That is one reason I love the Mercurey,” Aubert said, “because it always recalls that smell of the harvest, you know, working the grapes, the crush.”
Something about the 1995 “Les Montots” made me think of Conrad’s title The Heart of Darkness, and the title would occur to me again before the night was over.
Right about then, as Aubert poured a taste of the 1994 Mercurey, I mentioned that I was wearing espadrilles from Provence, and that my toes were chattering. During wintertime that earthen cellar floor is like standing on an iceberg, so carrying along the 1994 Rully blanc to serve as our apéritif, we walked out into the darkness up to his house.
He built a fire first thing, poured that wonderful Rully, then showed me two new recordings of the Bach Cello suites, one by Yo-Yo Ma, the other by the Russian Mstislav Rostropovich. We decided to “taste” and compare the two performances.
I grew up with the Pablo Casals version of the suites, one of the great recorded performances of the century, so truthfully I was prepared to be a little underwhelmed by the new recordings. The Casals seems soulful, existential, the Rostropovich so emotionally vast. How their cellos seem to sing and speak. The Yo-Yo Ma is more lively, dance-like, but not as subterranean.
Right about then Aubert left to search for another white. Many of you might not be aware that he owns part of another winery farther north, in Vosne-Romanée. Anyway, he returned with a 1967 Montrachet from his other winery, which really hit the spot as we listened to the second cello suite à la Rostropovich.
Aubert began to tell me what he had heard about the actual recording of the suites, which the Russian must have believed will remain his foremost legacy as a cellist.
Rostropovich chose to record the suites in France in the ancient cathedral at Vézelay from which the Crusades were launched because, he wrote, “I saw the rhythm of the internal architecture shorn of all superfluity, with none of the gilt and ornamental trimmings of the Baroque style. I saw the severity of line and rhythm of this vaulted construction, which reminds me so powerfully of the rhythm of Bach’s music.”
Recording took two months. He recorded at the midnight hour, the cathedral silent, empty, except (I’ve been there) for whatever spooky stuff might be emanating from its crypt (which is said to have some remains of Mary Magdalene). Imagine the texture of the cello’s sound in that vast, dark, stone cathedral! And my God it is fabulous as it growls and soars.
We listened to the Sarabande from Suite no. 2. (Film buffs, didn’t Ingmar Bergman use this piece in Through a Glass Darkly? I seem to recall hearing it during a scene in the dark hull of a wrecked ship, with…was it incest, sexual initiation, both?) Is there music that searches deeper? It is terrible and magnificent. The cello’s bow seems to scrape right across your own guts.
While recording, the Russian and his wife lodged with Marc Meneau, who has the three-star restaurant L’Espérance just down the hill from Vézelay. A cellist who apparently has a healthy appetite, Rostropovich might have enjoyed some of our Bourgogne blanc “Henry de Vézelay” from Bernard Raveneau ($12.50), which is made practically next door. I like to think he did.
Back now, though, to Bouzeron, where dinner is served with a 1961 Romanée-Conti. I have, I admit, during my career, enjoyed many an old vintage, but this, this!!! I told Aubert that is has a goût de terroir, mais pas de cette terre. It is from another planet. Tasting notes? Are you kidding? I am in no mood to attempt the impossible. But what a culmination to the evening. Would I have been so receptive to the glorious intricacies of the 1961 Romanée-Conti had it not been for our passage through the Bach Cello Suites? Forget wine-and-food marriages. Here was a fusion of music and wine. The only way I could describe the wine would be to play the music.
And what a voyage the entire evening had been, starting with that first innocent burst of fresh Aligoté.
You can find the latest Bouzeron Aligoté from A. & P. de Villaine here as well as our current selection of wines from Vézelay here.