Featured Producer
Domaine Gallety
The bright and talented Alain Gallety began making wine in the Côtes du Vivarais alongside his father. Together, they had a vision. They built a state-of-the-art winery, constructed right into the hillside below their high-altitude vineyards. Today, Alain’s son, David-Alexandre, works with him. Quietly and diligently, they imagine one day making one of the greatest cuvées of the Southern Rhône. One wouldn’t initially think such a goal is easy to achieve in a little known area as the Vivarais. The Côtes run down the western flank of the Rhône, just south of Montélimar in the Ardèche. Although these hills mirror those of the Côtes-du-Rhône on the opposite bank of the river, the Côtes du Vivarais was only recently awarded A.O.C. in 1999. Over a decade later, the region is finally starting to receive the attention it deserves, both as a cooler and wetter climate than its neighbors across the river, but with a longer ripening season. The wines here stand as a gateway between the Northern and Southern Rhône, frequently seeing equal blends of the noble grapes, Syrah and Grenache.Though the Galletys reside here, making their exquisite blends with pride, determination, and focus, their minds are frequently traveling to other regions in France, where they are closely studying the methodologies and techniques of their contemporaries. Alain takes every aspect of the process seriously. To grow the quality of grapes he wants, he farms his fifteen hectares of vineyards organically, as he has done since the early 80’s. To best ensure freshness, he has installed top-loading, hatch doors over their gravity-fed tanks, so that the grapes go exactly where they need to immediately following the harvest—bypassing the cellar completely to begin their fermentation. The wines are then aged in Burgundian barrels, as the Galletys believe them to produce wines with greater finesse. Today, they are planting a vineyard so stony and wild that it will have to be worked by a draft horse. Alain Gallety is indeed a man of vision. Domaine Gallety is a new acquisition to the KLWM portfolio, but one well positioned for stardom with wines of such brightness, density, and impeccable balance.
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
Régis Bouvier
Régis Bouvier in Marsannay achieves a rare hat trick in Burgundy, the mastering of all three colors–red, white and rosé, through reasonable yields and high quality terroirs. Bouvier makes the best Burgundian rosé that we have ever tasted, his whites are delicious, with their own particular character completely unlike other Chardonnays from Burgundy, and his reds are his crowning achievement, managing to be wild and exciting while refined and elegant at the same time.Bouvier’s vineyards in Marsannay are premier-cru quality (some may even get classified) and his lieu-dit Bourgogne Rouge En Montre Cul vineyard is of a quality well above most (cultivated on a steep slope, not flatland Bourgogne). And don’t miss his Morey-St-Denis En la Rue de Vergy, a superb vineyard right above the Grand Cru Clos de Tart. This domaine represents terrific value for a number of reasons–a lesser-known appellation combined with quality vineyard holdings and a conscientious and talented wine grower.
Domaine de Marquiliani
The village of Aghione is not far from the old Roman capitol of Corsica on the eastern coast of the island, poetically known as the Costa Serena. Flanked against the Corsican Mountains where the flats begin to rise into the hills, this small village of 235 inhabitants is just as celebrated today for its sulfur springs, olive groves, and vineyards as it was thousands of years ago. The enduring legacy is no coincidence—cool nights, high altitude, and the soil help the grapes retain their freshness and allow for a slow, even ripening. The terraced land of Aghione is a mix of schist and granite gravel with silt that has descended from the mountains over the last ten thousand years.The Amalric family has farmed Domaine de Marquiliani since the 1950s, nearly twenty years after the two hundred-year-old domaine was destroyed in a fire and abandoned. The Amalrics bought the property and replanted the vineyards. Daniel Amalric earned great recognition for his wines, as he was the first to plant Niellucciu and Syrah on this side of the island. In 1995, he was joined by his daughter, Anne, an agricultural chemist who had returned from mainland France to take her place at the family farm. Initially, Anne put her energy into planting olive and almond trees. Her determination has not been in vain, as Domaine de Marquiliani’s olive oil is widely regarded as the best in Corsica. Recently, Anne has turned her focus back to the vineyards, which are well-rested after a long hiatus. She still works side-by-side with her father and is quick to credit him as her guiding light in the vineyards and the cellar. In spite of her modesty, Anne has become a success in her own right. Her wine made an instant impression on Kermit, who raves, “Drinking her rosé is like drinking a cloud. There’s an absolute weightlessness to it. Nothing is left on the palate but perfume.”
Domaine de la Chanteleuserie
Just outside of the village of Benais, in the heart of the Touraine, sits the lovely Domaine de la Chanteleuserie. This “place where the larks sing,” as the name means, is perched on a limestone plateau in an idyllic landscape. Moïse Boucard, a respected vigneron whom Kermit discovered in 1976, has not only given his good sense of humor and modesty to his son, Thierry, but his winemaking skills, too. The seventh generation of winegrowers at Chanteleuserie and the second generation to be working with KLWM, Thierry now shares the domaine with his wife, Christine.This is the land of Cabernet Franc, better known locally as “Breton.” While some vignerons in the area add up to 10% Cabernet Sauvignon, the Boucards make pure varietal wines. Bourgueil is among the most age-worthy of the Loire Valley’s reds, and the wines from Domaine de la Chanteleuserie are no exception: their 1976 still drinks well today! Despite their structure, these wines have a suppleness and generosity of fruit that set them apart from most wines produced in the area today.
The Chanteleuserie vineyards enjoy full southern exposure on limestone and clay, with a subsoil of porous, chalky tuffeau that also provides cellars with naturally ideal aging conditions. Thierry keeps yields low and protects his harvest by bringing the grapes in quickly and keeping them cool during destemming. Temperature control continues during fermentation to preserve freshness and acidity, thereby avoiding the rude tannic bite found in some Bourgueils. The wines are later racked into foudres for additional roundness of texture and depth. The “Cuvée Alouettes,” alluding to the name of the domaine, is fresh, supple, fruity, and ready to be drunk young. The Bourgueil “Vieilles Vignes” hails from vines 40-80 years old, and the “Cuvée Beauvais,” from one of Bourgueil’s greatest sites, originates from the tuffeau hillsides near the domaine. Both are delicious young and outstanding when aged.
Domaine de la Prébende
Domaine de la Prébende produces a deeply mineral Beaujolais from a predominantly clay and limestone terroir, a rarity in a region dominated by granite soils. “Une prébende” essentially means “a tax,” and the domaine sits on the location where monks used to collect taxes from the villagers. As Ghislaine Dupeuble puts it, “Monks didn't like to own low end vineyards!”The Prébende Beaujolais cuvée, “Anna Asmaquer,” is named for Ghislaine's great grandmother, who married Jules Dupeuble in 1919. The family wanted to add her name to the label because it was Anna who managed the vineyards and winemaking—she is the true source of inspiration for what has become Domaine de la Prébende today.
The Anna Asmaquer Beaujolais is an old vines blend with profound minerality, a bright wild berry nose, and possesses typique Beaujolais finesse. The grapes are harvested manually and vinified completely without SO2. The wines are not chaptalized, filtered, or degassed and only natural yeasts are used for the fermentation. La Prébende crafts one of the best Beaujolais AOC values available today.
Bèrto
Founded in 1890, the distillery of Castelnuovo Don Bosco was purchased in 1906 by Carlo Quaglia, the great-grandfather of the current distillery director. A succession of fathers passing the historical and traditional knowledge of distillation, liqueur, and vermouth production to their sons, and each son adding their own vision brings us to present day. The current ambition of the distillery is to preserve the multitude of traditional liqueurs and vermouths of Piedmont. Brothers Alessandro and Gian Natale Fantino of Barolo introduced us to Carlo Quaglia, who helps them make their Barolo Chinato.Our introduction to Bèrto came through their two sweet vermouths: the red vermouth (Ross da Travaj) and white vermouth (Aperitiv dla Traddission) are standard-bearers of traditionally and artisanally produced sweet vermouth from Piedmont. The recipe dates back to the 1930s and was resurrected by the Italian chef Federico Ricatto. His vision was to create Piemontese Vermouth that could stand on its own as an aperitivo or digestivo. Bèrto is the nickname for Alberto, Federico’s nephew, who was born around the time he was recreating the recipe. Federico recommends consuming their vermouth in wide glasses or in a tumbler with ice and an orange peel.
Since that introduction, we have expanded our imports of their products and now work with a dry vermouth, three liqueurs (Aperitivo, Bitter, Fernet), and our first spirit import, an aromatic, dry Gin. Among the myriad cocktails that can be mixed with these ingredients, perhaps the one we are most excited about is the Bèrto Negroni. After much tasting and debate, we recommend 1 ½ oz Dry Gin, ¾ oz Ross da Travaj Red Vermouth, and ½ oz Bitter, served on the rocks with an orange peel. The unique characteristics of each ingredient led us to diverge from the traditional equal parts Negroni recipe and we encourage you to experiment in the same way.
Château de Trinquevedel
Guillaume Demoulin is the fourth generation of his family to farm the beautiful vineyards of Château de Trinquevedel. His great-grandfather, Eugène, bought the eighteenth-century château in 1936—an opportune decision that coincided with the establishment of Tavel’s A.O.C that same year. However timely, the vineyards were in terrible disrepair, and Eugène had an enormous task ahead. By 1960, the grapes were finally producing wine worthy of the Demoulin’s own bottlings, and the château had at last been restored to its former glory. Louis XIV was among the first to sing the praises of Tavel’s delicious and memorable rosés, which only stands to reason given the appellation’s grand cru reputation today. Tavel is the only A.O.C. entirely made up of rosé, which prohibits any whites or reds from wearing the label of this Southern Rhône cru. No more than sixty percent of the final blend can be made up of the noble Grenache. In other appellations where rosé is made, it is often regarded as an afterthought— most of the grapes are frequently sourced from lesser parcels, as the lighter maceration of the grapes is seen as “wasting” precious juice. In Tavel, even the best parcels may contribute to the blend, yet another aspect that makes this cru so special.Guillaume, with the help of his wife, Céline, farms thirty-two hectares of vines that are situated in the hills of the Montagne Noire (Black Mountain). Their stony vineyards resemble those of the famous Châteauneuf, comprised of sand and quartzite galets roulés (rounded stones). The climate and sun exposure produce grapes with tremendous concentration and power. The rosés of Château de Trinquevedel consistently enjoy aromas of ripe, red berries with notes of the ubiquitous spicy, garrigue.
Domaine de la Tour du Bon
Several years ago, Kermit’s children were attending grammar school in Provence during the months he worked tasting and selecting wines in France. One day when he picked them up after classes, a charming lady walked up and asked if he would drop by one day to taste her Bandol. Little did they know that it would be the perfect fit. Domaine de la Tour du Bon rests peacefully atop a limestone plateau in Le Brûlat du Castellet, in the northwestern corner of the A.O.C. Bandol. Nestled beneath the mountains to the North, it is a bastion of tranquility, an oasis on the Mediterranean surrounded by beautiful gardens and vineyards with emblematic names like La Rémoise (The Dweller), Saint Ferréol (a local saint), Ensoleillade (Place Bathed in Sunshine), Clos des Aïeux (Clos of the Forefathers), l’Aire (the Aerie), and Bellevue (Beautiful View). The Hocquard family has been farming this land since 1968, though this has been a full-time farm since 1925. Today, Agnès Henry runs the show. Independent, quick to laugh, and modest enough to be self-deprecating, Agnès has come into her own. For years, she worked in tandem with a hired winemaker to make La Tour du Bon’s wines. Though they made wines that won great acclaim, they did not always reflect her own taste. Not surprisingly, once she finally set her mind to making them on her own, she hit her stride, crafting wines with power and precision, but also finesse and charm. Who better to understand how to make the wine than the person who knows the story of the land the best?The domaine is situated at an altitude of 150 meters above sea-level—a high point on this coastal appellation where maritime breezes cool the arid climate. Fourteen hectares of red earth, clay, sand, and gravel rest upon sturdy limestone bedrock. Brow-beating excavation and focused determination alone have built these vineyards. Agnès still has early photographs of the Mauric family, who lived here before the Hocquards, working the soil. Knee-deep into the red earth, behind heavy plows, vineyard workers toiled to bring this land to its current glory. (The tradition continues even today.) The copious rock served as sturdy material for building the house and walls that surround the property. The limestone has most importantly left its trace in the wines, instilling them with tremendous complexity, long length, and fresh elegance that makes them ideal for cellar-aging.
Clos Saint-Joseph
The picturesque stone village of Villars-sur-Var lies a thirty-minute drive north of Nice, in the heart of the Provençal pre-Alps. Perched high above the banks of the Var river and surrounded by massive limestone façades, the town is a small oasis of vineyards amid dense woodland and craggy bluffs: Villars has a long tradition of winemaking, and many residents still vinify a barrel or two every year for home consumption.Roch Sassi of Clos Saint-Joseph (named for his great-grandfather) is the only grower to bottle any wine eked from these incredibly rocky slopes. His wines fall under the Côtes de Provence appellation, even though the much cooler terroir here has little relation to the rest of the AOC. Villars in fact represents an isolated enclave of Côtes de Provence that enjoys a unique microclimate, the dry heat buffered by cold air currents from the surrounding mountains. These conditions allow for full ripening at remarkably low alcohol levels, maintaining lively fruit and bright acidity in the wines.
A proud ambassador of Villars’ winemaking history, Roch farms his five hectares organically and has also introduced biodynamic practices to the vineyard, such as the use of herbal preparations to boost the vines’ immunity and ward off disease. Rigor in the vineyard means top-quality raw material and less need for intervention in the cellar: “I don’t like working in the cave,” Roch jokes. Accordingly, his wines are fermented naturally, he does not block malolactic fermentations, and he bottles with no fining and minimal filtration.
In all three colors, it is the freshness and stoniness of this remote terroir that have the last word. The cellar-worthy reds express density with elegance and restraint; Syrah in particular shows a special affinity to the extreme environment of this less-traveled side of Provence. Roch’s blanc combines a textural fullness with the precision and salinity all-too-often lacking in southern whites, while the rosé of Clos Saint-Joseph is what every Provençal rosé aspires to be: delicate, ethereal, and mouth-watering, with no lack of flesh.
Thanks to this rare combination of an exceptional terroir with meticulous, tasteful winemaking, it was love at first sniff with the wines of Clos Saint-Joseph.
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.