Two Fall Reds: 2010 Bartenura Rosso di Montalcino and 2005 Coume del Mas Collioure Quadratur

Just some tasting notes today. Work continues to be crazy, but I had these two quite different wines lately and wanted to share my impressions…with fall approaching, we’re all looking for soothing reds, right?

The first was the 2010 Bartenura Rosso di Montalcino DOC. Rosso di Montalcino, the little brother of Tuscany’s famed Brunello di Montalcino, can be an affordable and good choice if you are longing for some Italian earthiness in a younger wine. Made from 100% Sangiovese (like Brunello) and grown in the same area, the main difference is that a Rosso only needs to spend six months in oak (compared to two years for Brunello) and one year of total ageing before release.

Bartenura is a big, Italian-wide producer mostly known for its Moscato in a blue bottle (which I was not aware of when I picked up the bottle…) and its current website does not list the Rosso di Montalcino. We bought the bottle at Costco where it retailed for $12, which is definitely on the lower end for a Rosso di Montalcino.

In the glass, the wine showed a lighter red color. The nose was full of pecan pie, slightly burnt cookies, blackberry, cherry and unidentifiable vegetables. That left quite the impression! On the palate, the wine was weirdly bubbly (which was not noticeable when looking at the glass), with initially strong acidity. There were some earthy and cherry pie aromas, but in the middle it showed surprising bitter aromas. The finish was so, so. I don’t know. Something seemed off balance with the wine. The acidity was too strong for me. There were moments that were better, but overall I don’t think I will buy this again…

2005 Coume dell Mas Quadratur

2005 Coume dell Mas Collioure Quadratur

The second wine we had was a 2005 Coume del Mas Collioure Quadratur from Languedoc-Roussillon in France. I bought this wine during a blow out sale on Last Bottle Wines mostly because of its logo. I loved that! The price was right ($12). According to the wine guide Gault Millaut it retailed for 24 euros (over $30) when they reviewed it.

The winery is the opposite of Bartenura, owning a mere 8 hectares planted with red vines, 11 hectares in total. I was looking forward to trying this aged mix of 50% Grenache, 30% Mourvedre and 20% Carignan.

In the glass, I found a very dark red wine, with hints of rust on the sides. The nose was perfumy with raspberry and blackberry aromas. Nina noticed butter and cookie aromas as well. On the palate, I got jammy berry aromas to begin with which soon gave way to tobacco and wood, with vanilla interspersed. The wine had decent acidity and the tannins seemed nicely integrated. The finish was a bit short and thinnish for me. I think this wine might be on its way out. It is still good, especially the beginning and mid-palate with its earthiness and rounded aromas. But the finish just wasn’t up to par. If you have a bottle, you might want to start drinking it soon…

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Sunday Read: Can Wines Be Works of Art?

It’s been silent on this blog for way too long. We were traveling for an extended weekend last weekend, and then work caught up with me. Given that I spend most of my working days writing, and work had increased quite a bit, I was just tired and could not get myself to write any more…

Let me try to get back into the habit with this Sunday Read. Over the last weeks, I have thought about whether wines could be seen as works of art (mostly in the context of explaining why pricing can be so far away from actual production cost). It a matter of coincidence that I came across this post on the blog of Dwight Furrow. I was fortunate to come across his blog Edible Arts through my friend Tracy who has started a great series of introducing her readers and the ones she reads to each other (it’s a great post combined with soup recipes, so go check it out!).

Dwight takes the approach of comparing the definition of arts (hard enough, trust me, as a lawyer this is one of the more hilarious definitions you will ever come across) with wine making. He reports that many philosophers would disagree with the assessment that wines can be art. From there, he moves on to explain why he does believe they are pieces of art comparing wines to performance art, and I really liked that idea.

So, have a great Sunday, enjoy the sun as long as you can!!

Dwight Furrow: Can Wines Be Works of Art?

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A Bit of a Detective Story: 1989 Kaseler Nies’chen Riesling Auslese

1989 SMW Kaseler Nies'chen Auslese

1989 SMW Kaseler Nies’chen Auslese

This post is inspired by my fellow bloggers’ writings in the Monthly Wine Writing Challenge #3, which just concluded and featured articles around the theme “possession”.  A common thread in most posts was the idea of how possession of wines is only fully realized when they are consumed. But not just alone, but shared with friends, fellow wine lovers or loved ones (this theme hit me especially forceful in Anatoli’s entry as well as John, The Wine Raconteur’s piece)… My buddy Jeff, The Drunken Cyclist, posted something about how to deal with your wine possessions and I literally exclaimed in the comments section that the most important rule was not to wait for special occasions, in my view, a special wine IS the occasion on any given night. So let me reiterate: If you have a special bottle stashed away somewhere and you are still waiting for that right moment to open it, why not make tonight that night?

The articles inspired me to search my modest cellar for a special bottle that I had been keeping there for a while: A bottle of 1989 Kaseler Nies’chen Riesling Auslese (and its twin, I actually have two bottles of this wine). So much about this wine is special: I received these bottles in a special shipment from my friend ManSoo (who confided that this was at the time – spring 2013 – his favorite wine), the label itself is special (as you can see), the year is very special, especially for a German, and a more than 20 year old Riesling is special anyway…but label and bottle also caused some head-scratching, which I will let you in on in a minute. Very dear friends of ours had invited us for dinner, and I decided it was a great occasion to bring this wine because one of them loves aged Rieslings and the other loves Riesling of any kind.

As I unearthed one of the bottles (yeah, my holdings are not very well sorted at all…), I paused and looked at the label. The photo of the Berlin Wall coming down is still giving me chills. To this day, 24 years later, I remember my dad calling my brother and me downstairs so we could see the live footage that fateful night of November 8/November 9, 1989 when the Berlin Wall came down. I remember his tears, although we didn’t even have relatives in East Germany. The next days were crazy, with teachers only talking about this, no matter the subject. It was all very emotional. So naturally, the label touched a very soft spot for me.

But there is some mystery to this wine when you look closely. The bottle mentions Saar Mosel Winzersekt, a cooperative, as the wine’s shipper, not bottler. So the label was attached by the cooperative and is probably sold by the cooperative, but it was not made by it. Who made it?

The clue came when I pulled the cork: There emerged a coat of arms, and the name “Erben von Beulwitz”, which is a winery in the Ruwer valley with significant holdings in the vineyard Kaseler Nies’chen. So that settled that. The wine was made by Erben von Beulwitz winery, but somehow some of it ended up receiving this special label by the cooperative. How? I have no clue…

Then, while drinking the wine and looking at the label again, I realized that there was something else that was odd. I’ve written before about the AP number, a special number that needs to be printed on every bottle of wine produced in Germany. You can read more about it here, where I explained that concept in detail. But to cut things short: Every bottling in Germany gets a unique number and sample bottles of these bottlings have to be retained in order to ensure the quality and that no fakes are being made. The AP number’s last two digits stand for the year in which the wine was approved as wine. Usually, that is one or two years after the vintage. So for a 1989 you would expect to see a “90” or “91” at the most. However, this label shows the digits “99”, which means it was only submitted for review and approval in 1999, ten years after the grapes were harvested!

Now I am not sure whether the wine spent that long in steel tanks or barrels (which seems unlikely but what do I know?) or whether it was bottled but never labelled and therefore only submitted for review when the labels were attached…

I love these detective instincts that labels can and wines can trigger. This was a special case, because usually it is confined to checking out the vineyard and winemaker, trying to see where in particular the grapes are coming from. This one had several weird clues, and I relished investigating them. There is so much to wines!

Needless to say, the wine was really yummy. Everyone around the table seemed to enjoy it, and I had a particularly great time because I love it when my friends have one of my treasured Riesling moments. I have no descriptors or any of that sort today, will save that for a later date when I drink the second bottle. Today is just an exercise in investigative wine journalism…

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