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.
Castagnoli
Castagnoli is a small estate in Castellina in Chianti on the western edge of the Chianti Classico DOCG. This estate possesses a striking terroir, one of Chianti’s most beautiful. Steep terraces are carved out of a western facing amphitheatre below the winery. The soil is highly decomposed and flaky galestro schist. The Sangiovese vines are pruned and trellised like Syrah of the northern Rhône, with one wooden stake per vine. There are several small micro-terroirs that are vinified separately and ultimately blended into the estate’s three wines: Chianti Classico, Chianti Classico Riserva, or IGT Toscana Rosso “Salita.” Salita is a single parcel of higher-altitude terraces with southern exposition. The name “Salita” refers to the sun-baked nature of the section of the vineyard.Owner Alfred Schefenacker is the driving force behind this tiny estate with amazing potential. He is intent on restoring and developing it into one of the finest estates in Chianti. The Castagnoli terreno is one of cool climate, high altitude Sangiovese (vines are planted higher than 1000 feet above sea level) but one with a lot of lower-end depth and concentration. High-toned aromatics including blood orange are on display, a medium-full bodied frame with smoked meat, black olive and rosemary to complement the red fruits, solid acidity and tannin. It is a unique style in Chianti born of a unique terroir, and it possesses a cool elegance that makes it immediately drinkable and very pleasurable though it will age well.
Château Roûmieu-Lacoste
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.
Domaine de Reuilly
When tasting the wines of Denis Jamain, it is clear that the appellation of Reuilly, in the eastern Loire, is experiencing a renaissance, moving far beyond its former status as the “poor man’s Sancerre.” This land was once a source of great pride, having been part of a gift of the 7th century king, Dagobert, to the Royal Abbey of Saint Denis. Phylloxera had ravaged the majority of the vineyards here in the late 19th century, but Camille Rousseau (Denis’ maternal grandfather) had faith in the future of Reuilly. In 1935, he planted his first vines here, in addition to farming a large oak forest on the outskirts of town. Denis shares his grandfather’s passion for the vineyards and the forest, as well as his hometown pride. Though he studied in the United States and speaks excellent English, this charismatic and friendly gentleman wanted nothing more than to return home to take over the family domaine. In 1990, Denis began adding to the family holdings. Today, he farms a total of seventeen hectares in the heart of the appellation, with eleven planted to Sauvignon Blanc, four planted to Pinot Noir, and two planted to Pinot Gris, which makes his superb and distinctive Reuilly rosé.The soils here are rich, resting on the prized Kimmeridgian limestone, a geological chain that connects the Loire Valley with Chablis in Burgundy. This limestone is valued for its high content of marine and shell fossils dating back 150 million years ago to the Jurassic period. These minerals are without equal for producing some of the most beautiful whites in France. Denis has been practicing sustainable agriculture for many years and has recently started the conversion process for organic certification. Though he uses both stainless steel tanks and oak, Denis is very proud to be able to select special oaks from his grandfather’s forest to make his barrels. This is the concept of “local” in its purest form.
Domaine de la Cadette
In the village of Saint-Père, along a little creek to the southeast of Vézelay in Burgundy, a quiet, peaceful revolution is taking place. This part of Burgundy has been producing wines for centuries, but estate bottling still represents a relatively recent phenomenon here. In fact, when Jean and Catherine Montanet planted their first vineyards in 1987, the fruit was destined for vinification in their very own cave coopérative, which saw its first vintage bottled in 1990. As general manager of the business, Jean quickly found his feet as a capable vigneron, counseled by coworkers such as the brilliant Bernard Raveneau, who would later introduce Jean to Kermit.By 1997, the INAO (Institut National des Appellations d’Origines) had awarded Vézelay its own AOC—a timely decision that lends more credibility to the noble work of the Montanets. They began farming organically in 1999, a particularly bold decision given the physical and financial effort required to do so in an area where most wine is sold in bulk. Unable to fully express themselves as vignerons at the coop and determined to continue working organically, the Montanets finally split off and founded their own label, Domaine de la Cadette, taking their vineyards with them. Their son Valentin joined them in 2010 and now manages the domaine, espousing his parents' philosophy of organic farming and natural vinification to craft refreshing, mineral-driven whites and reds.
The vineyard land sits deep in the Morvan, the great mountain range that runs west by northwest of the famous Côte d’Or. The land here is quite exceptional: the creation of the granite massif of the Morvan has uplifted a marl and limestone strata, revealing fossilized marine deposits. Though Vézelay is a geographic appendage of Chablis, the soils are not exactly the same. Instead of the Kimmerdigian soils, the clays here range from blue and gray to red, sometimes with no clay at all but just shallow limestone. While the climate is slightly cooler than in Chablis, the vines enjoy great sun exposure, lending a balance between generous fruit and deep mineral structure. That the wines from Vézelay have gone largely unnoticed until recently may certainly be attributed to an underwhelming production of forgettable wines; however, Domaine de la Cadette stands proudly as a beacon of change, representing the most sincere expression of their terroirs with grace and integrity. Though they are best known for their Bourgogne Vézelay, a Chardonnay, their Bourgogne Rouge and their Melon de Bourgogne are also equally remarkable.
Domaine François Lumpp
In the late 1970s, François Lumpp and his brother inherited their family property, located in the Côte Chalonnaise. In 1991 he founded his own label with his wife, Isabelle. Using cuttings of older, selected bud wood (sélection massale), François developed his domaine around Givry's best premier cru sites, which, as in most of the Côte d’Or, are situated on the mid to upper level slopes of the rolling hillsides.Givry, along with Mercurey, is one of the two predominantly red wine producing appellations of the Côte Chalonnaise, while the neighboring appellations of Bouzeron, Rully, and Montagny produce primarily white wine. Givry is known for its refined and approachable reds, whereas Mercurey can often be harder and more austere when young. The best examples of Givry can have substantial structure, depth, and complexity, however, and can be expected to age as successfully as the premier crus of the Côte de Beaune, which is certainly the case at this address. François was one of the first to believe in the potential of Givry’s terroir for white Burgundy, and is reputed for his white today. His Chardonnays are a study in grace and balance.
The Lumpp domaine is an especially good fit here at KLWM because it embodies exactly what we have always looked for in Burgundy: a true vigneron in a specific village. Every wine François makes is from Givry, from vineyards that he planted and nurtured himself–something that is exceedingly rare in Burgundy today, and will become more and more so over time. An acknowledged leader of the appellation, his greatest achievement is harnessing the finesse we look for in Burgundian Pinot Noir—le Pinot fin.
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.
Domaine Jean-Marc Vincent
Anne-Marie and Jean-Marc Vincent inherited most of their vines, principally located in and around the village of Santenay in the southern Côte de Beaune, from Jean-Marc’s grandfather, André Bardollet-Bravard. They produce three premier cru reds and two premier cru whites from Santenay, in addition to a red and a white Auxey-Duresses. The Vincent wines are characterized by rich, layered fruit, intense expression of individual terroir, and solid structure.Their Auxey-Duresses Blanc “Les Hautés,” which thankfully happens to be their highest production wine (that is, more than two barrels produced), is a gem and a role model for other producers of the appellation. This is the wine that first attracted Kermit to the domaine. “I had rarely had an Auxey-Duresses that excited my taste buds,” he said, “I knew I was on to something.” And indeed it reaches the heights of many a white Burgundy with a greater pedigree. It also evolves well in one’s cellar. The Vincents’ wine operation is a family affair and A-M and J-M split their time between the vineyards, cellars and their young children. Their miniscule production always sells out quickly to a small group of devoted clients. All of their wines are a testament to the importance of vigneron talent in a given appellation. While a great vigneron can make over-achievers from any appellation, a great appellation will never be great in the hands of mediocrity.
Deperu Holler
In the north of Sardegna, Carlo Deperu and his wife Tatiana Holler are crafting some of the most serious whites of the Mediterranean basin. The couple met in Milan, where Carlo earned his degree in viticulture and enology while Tatiana had come to study advertising from her native Brazil. In 2005, they settled back to Carlo’s hometown of Perfugas, where his family had long made some wine for their own consumption. Carlo and Tatiana replanted the family vineyards and added new parcels, ultimately bringing the surface under vine to six hectares.At the intersection of the hilly Anglona region and the more mountainous Gallura (home to Sardegna’s only DOCG, Vermentino di Gallura), soils alternate between limestone and granite with varying proportions of clay, chalk, and fossil-rich stones. Situated less than ten miles away, the sea brings constant fresh breezes, while nearby Lake Coghinas also has a similar moderating effect. The cleansing maestrale wind blows frequently, playing a crucial role in facilitating organic viticulture. In fact, Carlo and Tatiana eschew herbicides and synthetic fertilizers in the vineyard, opting instead for natural solutions like planting cover crops to maintain balance in the soils.
Vermentino thrives here, giving full-bodied, mineral wines that rank among the Mediterranean’s most complex and food-friendly whites. “Fria” is a gentle, fragrant, thirst-quenching expression of the grape, while “Prama Dorada” pays tribute to the Sardinian peasant wines of the past: a blend of Vermentino co-planted with Nasco, Malvasia, Moscato, Arvesionadu, and other heirloom varieties, this deep, fleshy white is richly saturated with local wildflower and herbal nuances. Both wines see a cold soak (up to seven days for Prama Dorada) to extract texture and aroma, but not color or tannins. Fermentations are natural and both wines complete their malolactic fermentation in tank before an unfined, unfiltered bottling. Carlo and Tatiana also produce a perfumed, chewy red from Cannonau and Muristellu. These wines are loaded with local character and brilliantly complement Mediterranean cuisine.
Domaine Méo-Camuzet
Méo-Camuzet is one of the most celebrated domaines of the Côte d’Or, located in the heart of prestigious Vosne-Romanée. The domaine boasts fourteen hectares of land in some of the most spectacular appellations and crus of Burgundy. The vineyard land in Burgundy is highly parceled out among families, which makes it rare for anyone to have enough vines to be able to bottle one grand cru, let alone the six that the Méos have. The early beginnings of the domaine left it in the hands of métayeurs, or share-croppers. The last twenty years have brought substantial changes that have fostered a new chapter for the Méo family.Founder Étienne Camuzet was not only a passionate vigneron, but a full-time politician, and spent most of his time in Paris, representing the Côte d’Or. In order to keep his land in use, he offered it to capable share-croppers to farm. By the time his daughter had inherited the estate, she found herself with no successors, so the estate was passed down to her closest relative, Jean Méo. Jean was also deeply involved in national politics—he served as a member of Charles DeGaulle’s cabinet. Consequently, he, too, had to direct the domaine from afar. In the early 1980s, as many of the métayeurs were starting to retire, it became clear that the domaine needed a new direction. Jean’s son, Jean-Nicolas had also spent most of his life in Paris. By 1985, it was his turn to take the helm. In lieu of continuing to rent out their highly-pedigreed vineyards, he made the bold decision to slowly start reclaiming the land for the domaine’s own bottlings. He called upon the resident expert, one of Burgundy’s greatest winemakers of all time, Henri Jayer, for guidance. Henri had spent over forty years farming parcels from Méo-Camuzet under his own label, while enjoying celebrity status in the Kermit Lynch Wine Merchant portfolio. For three years, he mentored Jean-Nicolas during the transition and finally decided to retire in 1988. Though Jayer passed away in 2006, his legacy endures to this day.
Jean-Nicolas has since directed the cellar and sales. He has put the vineyards in the capable hands of Christian Faurois, son of one of domaine’s métayeurs, who has dedicated himself to these vineyards since 1973.
Domaine Méo-Camuzet bottles four astounding grands crus (Richebourg, Clos de Vougeot, Corton Clos Rognet, and Échezeaux, with two more Cortons on the way), ten premier crus (from the communes of Vosne-Romanée, Nuits-St-Georges, Chambolle-Musigny, and Fixin), several village wines, one Bourgogne Rouge, and only one white. Jean-Nicolas aims for balance and purity of fruit, which he accomplishes with terrific success. Though delicate and fine, even in their youth, the paradoxical concentration and intensity of these wines make them ideal for long cellar aging. These rare, stunning achievements are a Burgundy lover’s dream.
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.