If you want to test the German wine savvy of your knowledgeable friends, here's a little experiment you can conduct in the safety of your own living room. Tell them you want them to taste a German rosé, and inform them that it will be off-dry, well over ten years old, and come with a label sporting a coat of arms and cryptic Germanic font. Mention in passing that this bottle will come from the Müller-Catoir winery. 95 per cent of all wine drinkers will at this point have run away screaming, the living daylights scared out of them.
The remaining 5 % will ask for a screwpull without further ado. From then on, listen to those people.
We got drunk on that stuff as students because we didn't know any better and had no money. That is not what I would say, at least not in public, but it summarises how many British acquaintances refer to German wine - in particular the dreaded Liebfraumilch. German wine is associated with sweet, and sweet with bad. The British wine trade tend to love Riesling, dry or sweet, and some also appreciate German Pinot Noir. This is usually where the knowledge ends though. There are even "wine experts" who say Germany should not move away from the sweeter style of Riesling - whereas the reality is that the German wine industry has become so diverse it has long gone beyond that. German dry wines are now so varied as would confuse even the most sober foreign beholder.
Last week the German Wine Agencies, a new distributor of German wines in the British market, invited members of the trade to be confused (and to leave everything else but sober, one would hope) by German wines.
Swabian Muscat, anyone? There's no doubt that solid old Swabia (that's "Württemberg" for you, in wine label terms) can do much: She can do somewhat dubious specialties like Trollinger and Samtrot, harmlessly light regional reds, but then she can also come out with powerful Rieslings and surprisingly high-brow Lembergers and Pinot Noirs. But dry Muscat, that feathery-light, elderflower whiff of springtime? Let's just say it takes a certain leap of faith. To be honest, if this offering had not come from Kistenmacher & Hengerer, an up-and-coming winery that has recently impressed us with the seriousness of their old-vines Lemberger, we might not have given it a chance either.
Have they actually pulled it off?
We have all been there. You meet someone. At a wine bar, a pub, a club. They look nice, approachable. You talk a little and it goes easy, very easy. Almost too easy - you realise: a smooth operator. Now you should be careful, but somehow it feels good. Until disappointment finds you at last. However, as you get older, more experienced, you learn to spot them before it is too late: pleasant surface, charming, very smooth - but shallow and hollow, a disappointment. You are now a grown-up, and you won't fall for that trick.
I am a grown-up, and I won't fall for that trick. Or will I?
Arson, sieges, war - not really the first words that would come to mind when thinking about wine: or a mill. And yet such events feature prominently in the long history of the Steinmühle (stone mill) winery in Rheinhessen. Since the Middle Ages, the mill in Osthofen has been burnt down a few times, and yet there it still stands. And it is still in the hands of the same winemaking family, for eleven generations now.
I did not know that when I was handed a bottle of their 2010 Sylvaner (the date 1275 on the label could have been a hint) - but then wine should mostly be about the enjoyment and the history lesson just a good swashbuckling story to be told after the second or third glass.
When touring the Mosel in 2008, we visited, amongst other places, a village called Leiwen. It was chosen for very practical reasons, as the wide and comfortable cycle paths along the river lead right past it, but more importantly for bacchanal reasons as it is the home of the St. Urbans-Hof winery. Small by New World standards, the 33ha vineyard area owned by the Weis family actually make the estate one of giants of the Mosel/Saar region and they include sections of several prestigious vineyards.
One of them is the Bockstein, near the village of Ockfen at the Saar river. There was no time to visit Ockfen in 2008, and until that can be remedied I will have to make due with enjoying the odd bottle of Ockfener Bockstein Riesling.
This humble review is actually a double tribute. First, to wines that don't dazzle the nose or titillate the palate so much as enable food to shine by their ready availability, selfless service and smooth background operation. We Germans call them "bread and butter-wines". The kind of wine that you buy by the case and whose steady supply you take for granted, so much that it is only with the final bottle that you get round to properly appreciate (and review) it. Because of that, this is also a tribute to that specially cherished sixth bottle.
So here's to the very last taste of Heiner Sauer's more-than-serviceable 2009 Pfalz Pinot Blanc that I will ever have:
The soul is pink. What, you did not know that? To be honest, I didn't either - until I had an encounter with the Riesling pictured below. While the wine was rather heavenly, it was the name that gave me this deep insight into the conditio humana: "Mandelpfad", meaning "almond path". It is not for esoteric reasons that the Knipser brothers chose to name the wine - Mandelpfad simply is the name of a vineyard in the Pfalz region. It is also the name of a scenic path, under almond trees, that leads hikers past many exciting vineyards.
In spring, I imagine, it must be beautiful with pink almond flowers all over the place, and that is apparently what made a tourism marketing writer whose text I just consulted declare that pink is the colour of the soul. Whether that is true I leave with competent experts such as mystics and marketing specialists, but I can tell you a little something about the soul of the Mandelpfad Riesling.
We all have something we want to steal. Well, maybe I should not judge others by my criminal standards, but I have my eyes on a few items. For instance those two bottles of Riesling, one from 1933 and the other from the 1870s, who live in a posh wine shop in Munich. The list is longer, but I haven't actually executed any of my evil plans yet. Others sadly are more decisive: in the early hours of 17th September 2011 thieves drove a harvesting machine through the Herrgottsacker vineyards near Deidesheim in the Pfalz. I like to imagine the scene filmed with lots of flash light, fog, shades, fast camera movements and perhaps "X Files" sound. In reality it was probably more boring, but whoever drove that harvester got away with super ripe Pinot Noir grapes worth €100,000 and destined for fermentation tanks at the von Winnigen winery.
I have an alibi for that night, and I'd anyway much rather steal the finished product. Such as this Riesling made by von Winnigen and called, well, "win-win".
This little review revisits old Wine Rambler territory: Swabia's Stromberg region, last seen in the throes of a damaging freak frost in the spring of last year. This time, another winery, just one picturesque beech-forested ridge away. The Steinbachhof is an ancient estate created by the cistercian abbey of Maulbronn, then owned by the dukes, later kings of Württemberg, and now by two adventurous young people, Nanna and Ulrich Eißler, who supplement their income from wine growing by hosting wedding and business receptions in a beautifully refurbished old barn.
From a recent short visit, I brought a bottle of Riesling that, sadly, you won't be able to find outside of Germany, or Swabia for that matter, for any time soon:
Of all the longer and shorter wine tours and winery visits I have undertaken the 2008 trip to the Mosel is the one I have the fondest memories of. Not only was it part of a longer holiday and involved the full Wine Rambler committee, I also had the chance to meet some of my favourite winemakers and cycle along the fantastic Mosel cycle paths. And it was asparagus season - easy access to white asparagus is probably where London is weakest on the food supply front.
Among the wineries we visited was Reuscher-Haart, one of several branches of the Haart family living in the famous wine village Piesport. The last wine left from that visit is (or was) this 2006 late harvest Riesling.
In a large blind tasting that pitted a selection of German Pinot Noirs against a wide range of international contestants, seven out of ten of the top ten scored bottles were German. This was widely publicised - not least on the Wine Rambler's Twitter account, of course - and even made some small headlines in the German general press. To be honest, I think you're well advised to take tastings of this kind with a pinch of salt, as they tend to follow their own marketing rules and cycles, and are often designed to fit into a Judgement of Paris kind of narrative. You can't help noticing, in fairness, that no Grand Cru Burgundies of the battleship class were lined up.
But I was pleased nonetheless, of course, because it underscored the validity of the case we've been making since the beginning of this blog: German Pinot Noirs can be very, very serious and deeply satisfying reds. And we have another one of these for you right here:
Quoting Shakespeare is fine. In fact, it is recommended to do it at least occasionally when you write in English. For some reason though the Germans are less likely these days to quote their national poet. Unless you write editorial for a conservative newspaper there seems to be something stuffy to it - although I'd recommend reading some of Goethe's obscene love poems if you believe the old man is stuffy. Anyway, today is the day I am going to quote Goethe in a wine review. However, in order not to turn you away before you have at least glanced at a great wine I shall do it at the end of this piece.
So before we get to the national icon, let's take a look at one of the national wine icons, the Rieslings made by the Emrich-Schönleber family.
The Germans and their compound words. Even people who haven't heard more than three words of German (presumably those will include "Achtung", "nein" and "Fuehrer", although amongst the more sophisticated "Kindergarten", "Zeitgeist" "Schadenfreude" und "Weltschmerz" are also candidates) know that the Germans like to build long words into even longer ones by attaching them to each other. Worry not though, I shall not be troubling you with yet another very complex word the length of the journey from Land's End to John O'Groats. Instead I will use a review of a Rheingau Riesling to introduce you to a short compound word every wine drinker should know.
The word is Zechwein.
There is not much I have in common with Cato the Elder. I am not a politician, I never gave a banquet in honour of Jupiter, my Latin is mediocre and I never supported a ban on women riding in carriages. I don't even drink much Italian wine. And yet at moments I have sympathy for the old grump, and that is when I end statements on German wine with: ceterum censeo you have to try Silvaner! In the UK, where knowledge on German wine beyond sweet Riesling is rather limited, this sometimes makes me feel like a lonely preacher, repeating the same mantra like a bumbling (rambling?) fool. Now imagine my joy when I finally met a man who showed me what real Silvaner obsession is.
Or Sylvaner obsession, as wine grower and maker Michael Teschke prefers to spell it. Michael's dedication to Sylvaner has turned him into a figurehead for the grape variety, so much so that some call him the "Sylvaner God". Interestingly, others refer to Micheal as "Arse Teschke" - and if you want to know how that actually relates to Sylvaner quality you will just have to read on.
Buying clothes and shoes is a difficult business. Even if you happen to know what you want and even if the market agrees that you should want it and offers it to you, there is no guarantee it will fit. I cannot remember how often I have tried trousers or shoes of the size I have bought for years and continued to buy for years after - and the bastards won't fit. Like the EU size 46 trainers that my 43-44 size feet would not even get into. Producers apparently like to interpret size in line with changing fashion. This of course does not fit my modernist brain that believes a size is a size and not a fashion statement. Wine bottles are different though - a 750ml bottle will pretty much always fit your wine rack. Unless it is a Franconian Bocksbeutel, of course.
Admittedly, this is not very practical (and I wonder if there are Bocksbeutel racks for the serious collectors of Franconian wine), but to me it is a satisfying change from the norm, and as you get what it says on the label it is also honest. Like a good Franconian Silvaner should be.
Said Mr. Munich Wine Rambler to a bottle of Lake Constance Chardonnay: "There's nuthin' in this town 's been a surprise, 'cept for you". Oh no, wait, that wasn't me, that was Kevin Costner, the romantic free-grazing, sharp-shooting cowboy in "Open Range", to Annette Bening. But that was exactly my sentiment when I took the first sniff of this 08 offering, my last bottle (for the time being) from the Staatsweingut Meersburg.
After a long, joyless day, any glass of wine would have cheered me up, and I wasn't expecting anything special, really. A white that would work with the nice pumpkin soup set before me, not too acidic, not too thin, with some smooth buttery notes (yes, it had indeed been that kind of day). But as it happens, this eloquent, outstandingly matured Chardonnay surprised and charmed me far beyond my modest designs:
For stereotypical American or Japanese tourists who also love wine, a visit to Schlossgut Diel has to equal the feeling of a child realising it has been locked in an ice cream parlour for lunch break. After all we are not only talking about one of Germany's top wine estates, we are also talking about a "castle winery", as that is what "Schlossgut" translates to. Castle Layen, where the Diel family has been based since the Napoleonic wars, was built in the 11th century. The wines in the cellar are not quite as old, but rumour has it some go back to the early 20th century, so the both lovers of medieval towers and old wine should be very happy there.
Sadly, I have yet to visit Schlossgut Diel (preferably leading a raiding party), but at least I managed to get my hands on a few bottles of their Riesling - this Kabinett Riesling from the "gold hole" vineyard being one of them.
One day, I will invite other wine bloggers to contribute to an anthology of awkward introductions to simple wine reviews. The things that you ponder, and then reject, so as not to have to jump in with a straight "Here is a Franconian Pinot Gris that I had recently". One thing that struck me just now, while thinking of something new to write, was how often I, while recalling a tasting experience to put together a review, will sip on a completely different wine. Today, it's Dr. Heyden's very proper old vine-Silvaner from 2009. Then, I ruminated on the pun-producing potential of the Ruck winery's name, since it means something like "jolt" or "lurch" in German.
I thought of former German president Roman Herzog's 1997 speech in which he demanded "durch Deutschland muss ein Ruck gehen" ("A jolt needs to go through Germany"), of the strangeness of this image, and whether it could be put to some kind of humoristic use vis-a-vis the Ruck family of Iphofen, Franconia. But then name jokes are off limits in serious journalism, which led me to the question whether the Wine Rambler actually...
Wine, you would think, is the common theme for a wine trip. At least that's what I thought when a few weeks ago I set out on a press trip to the German wine region west of Mainz. Yet while there was wine, and plenty of it, I soon realised that there was another theme to this trip. It was about family, about death, destiny and the dreams of winemakers - and there was a bit about rock 'n' roll and obsession too.
German winemaking is very much about family. Not only have many wineries been in the same family for generations, they also tend to be small enough so that a family can run them without a lot of staff. Whatever happens in the family has real impact on the whole business. A serious argument, the only child turning their back on winemaking or a father dying unexpectedly - such events can be make or brake for an estate. This means that German winemaking is also a story about family. A story about love and death, a story about children following tradition or breaking with it, a story about getting old and growing up. In the end, winemaking is a story about life.