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About growing grapes and making wine

Some wines from Brescia and Bergamo, Lombardy, Italy

One reason that Italian wines are a constant source of interest for wine enthusiasts1 is that, pretty much no matter how long you’ve been studying wine, you’ll always keep coming across new regions and new grapes you’ve not heard of previously. This can happen when visiting a supermarket, or when travelling — particularly in regions not known for their wine.

For me, at least, Lombardy is such a region. I’m not sure why. It does grow quite a bit of wine, and some regions, such as Valtellina, are not particularly obscure. I guess it lacks any ‘big names’ — there is no village with the stature or recognition of Barolo or Brunello here. But — thankfully — that’s not all there is to wine.

I’ve been lucky enough to visit Brescia and Bergamo a number of times, and have enjoyed finding out about the wines grown in their respective regions. With the exception of Franciacorta sparkling wine, which I won’t cover here, neither are terribly well known outside the region, but both are — to my mind — well worth exploring. I’ll quickly run through a few of the regions I’ve come across so far, and give some details of the wines I’ve tried.

Brescia

Pusterla vineyard, Brescia.

Brescia’s vineyards sit between the mountains and the plain, with Alpine breezes on one side and warm Po Valley sunshine on the other. These are the same hills that give the world Franciacorta sparkling wine, but the still wines deserve a little attention too. Curtefranca DOC covers much of the same ground, and the soils are a patchwork — limestone and marl here, glacial debris there — all of which helps keep the wines lively. The reds lean on Bordeaux grapes like ‘Cabernet Sauvignon’ and ‘Merlot’, often with an Italian twist from ‘Nebbiolo’ or ‘Barbera’, while the whites are typically ‘Chardonnay’ and ‘Pinot bianco’.

One curiosity worth mentioning is the Pusterla vineyard, Europe’s largest urban vineyard, which clings to the slopes just below Brescia’s castle. This sun-exposed hillside is the top of a stratified limestone spur, and is known for its marl and flint nodules, also called medolo. First planted in 1037 by the royal monastery of Santa Giulia, the site has undergone many changes of ownership over the centuries and has been abandoned at various points. Despite its difficult history, it is now thriving again under the care of and Emanuele Rabotti (Monte Rossa winery, Franciacorta). This unique vineyard is home to a unique grape — ‘Invernenga’, a rare late-ripening white with unusually thick, polyphenol-rich 🦜 skins. Once grown mostly for passito, it now makes dry whites with a pleasantly savoury edge — a little slice of vineyard history hidden in the city.

Nike, Brescia Roman Temple

If you follow the vines south, you come to Montenetto di Brescia IGT, centred on Monte Netto, a clay-rich rise out of the plain. Viticulture here likely started with the Romans, once the marshy soils had been drained, but the first definite reference to wine growing in the region was in the sixteenth century, with Le dieci giornate della vera agricoltura e dei piaceri della villa by Agostino Gallo, Renaissance agronomist, which mentions ‘Marzemino’ in particular, now grown as Capriano del Colle DOC Marzemino. The IGT rules are broad, but the standouts are ‘Trebbiano’ in its various guises and ‘Marzemino’, alongside ‘Barbera’, ‘Sangiovese’, ‘Merlot’, and ‘Chardonnay’. The whites tend to be floral and lightly fruity, while the reds are fresh and harmonious — the sort of bottles made for local trattoria cooking rather than long-term cellaring.

Curtefranca DOC

2020 Ferghettina Curtefranca
Colour: Medium(+) purple

Nose: medium(-) intensity, tertiary, developing. Redcurrant, cassis, strawberry, pomegranate, cherry syrup. Blueberry. Mushroom, barnyard, forest floor, cough syrup. Cedar, sweet spice.

Palate: dry, medium(+) acidity, medium tannins, medium alcohol (13,5%), medium bodied. Medium length finish, medium intensity. Redcurrant, cassis, strawberry, pomegranate, cherry syrup. Blueberry. Mushroom, barnyard, forest floor, cough syrup. Cedar, sweet spice. 

Conclusions: very good. Can drink now, but suited to further ageing. 

Seal: cork

Blend: 50% Cabernet Sauvignon, 30% Merlot, 10% Nebbiolo, 10% Barbera – I am not sure if this varies somewhat from year to year
Tasted 17/2/2023

2022 Ferghettina Curtefranca
Colour: medium (+) purple
Nose: medium(-) intensity, secondary, youthful. Red and black plum, blackcurrant, fruiti di bosco jam, blueberry. Smoke, bergamot. Charred oak. 
Palate: dry, medium acidity, medium tannins, medium alcohol (13,5%), medium bodied. Medium intensity, medium length finish. Red and black plum, blackcurrant, fruiti di bosco jam, blueberry. Smoke, bergamot. Charred oak. 
Conclusions: good — but not as interesting as I remember from last time. P&P (pop&pour), not decanted.
Half bottle at Ma!Osteria Brescia
Tasted 23/8/2025

2019 Ca’ del Bosco ‘Corte del Lupo’ Curtefranca
Colour: medium(+) ruby
Nose: medium intensity, secondary, youthful. Pomegranate (esp. on first opening), red cherry, blueberry. Strawberries stewed in balsamic vinegar. Cedar, cinnamon, maybe vanilla. Dried herbs. Touch of earthiness. Pomegranate seemed most dominant when first opened, but blueberry came to the fore with air.
Palate: dry, medium(+) acidity, medium(+) tannins, medium alcohol (13%), medium bodied. Medium intensity, medium(+) length finish. Pomegranate (esp. on first opening), red cherry, blueberry. Strawberries stewed in balsamic vinegar. Cedar, cinnamon, maybe vanilla. Dried herbs. Touch of earthiness.
Conclusions: very good. Quite lithe and elegant, refined but with an earthy savouriness. Can drink now, but likely suited to further ageing. Just as good on day 2, after being left open overnight.
Seal: natural cork
49% Merlot, 31% Cabernet Sauvignon, 9% Cabernet Franc, 11% Carménère
Tasted 15/4/2023

2018 Coop Vitivinicola Cellatica Gussago Curtefranca Rosso
Colour: medium garnet
Nose: medium(+) intensity, tertiary, developing. Red and black plum, plum jam, bramble, cassis. Tamarillo. Black pepper, tomato stem. Some savoury character and maybe the start of forest floor character.
Palate: dry, medium acidity, medium(+) tannins, medium alcohol (13%), medium bodied. Medium intensity, short finish. Red and black plum, plum jam, bramble, cassis. Tamarillo. Black pepper, tomato stem. Some savoury character and maybe the start of forest floor character.
Conclusions: good — let down slightly by the short finish. Can drink now, but suited to further ageing. P&P (pop&pour), not decanted.
Seal: DIAM2 cork
Merlot, Cabernet Franc, Cabernet Sauvignon.
Tasted 21/5/2024

2015 Ricci Curbastro ‘Vigna Santella del Gröm’ Curtefranca
Colour: medium(+) ruby
Nose: medium(+) intensity, secondary, youthful. Strawberry, redcurrant, red and black plum. Blackcurrant jelly? Strawberry jam? Blueberry. White pepper, cedar, nutmeg, bread dough. Smoke and maybe bergamot. 
Palate: dry, medium(+) tannins (fine grained, silky, but drying), medium acidity, medium alcohol (12,5%), medium(-) bodied. Strawberry, redcurrant, red and black plum. Blackcurrant jelly? Blueberry. White pepper, cedar, nutmeg. Cough syrup/medicinal. Bergamot?
Conclusions: very good. Can drink now, but suited to further ageing. Quite fresh and young at eight years of age. Relatively light and dominated by red fruit. The tannins and acidity work well with food. Very drinkable.
Blend of Cabernet Franc, Merlot, Cabernet Sauvignon, Carmenere, and Barbera.
Tasted 7/11/2023

2021 Ferghettina Curtefranca Bianco
Colour: pale lemon-green
Nose: medium intensity, secondary, youthful. Green apple, lemon, lemon peel. Pineapple. Nectarine. Honey. White flowers. Lees character: biscuit and cream.
Palate: dry, medium(+) acidity, medium alcohol (12,5%), medium(-) bodied. Medium intensity, medium long finish. Green apple, lemon, lemon peel. Pineapple. Nectarine. Honey. White flowers. Lees character: biscuit and cream. Green apple very dominant when first opened, but improves with air.
Conclusions: good. Can drink now, but suited to further ageing. Pretty good value at €9.50!
Seal: technical cork.
DAY2: left in fridge overnight. Green apple and nectarine still prominent, but now maybe with wet stone and saline notes.
80% Chardonnay 20% Pinot Blanc (Pinot Bianco)
Tasted 6/6/2023

Montenetto di Brescia IGT

2021 Barone Pizzini Montenetto di Brescia IGT
Colour: pale lemon yellow
Nose: medium intensity, secondary, youthful. Lemon, lemon peel. Apple — Granny Smith, Russet. White flowers. Cream?
Palate: dry, high acidity, medium alcohol (13%), medium bodied. Medium intensity, medium length finish. Lemon, lemon peel. Apple — Granny Smith, Russet. White flowers. Cream?
Conclusions: good. Can drink now, but suited to further ageing. P&P (pop&pour), not decanted.
Seal: DIAM5 technical cork
Blend of Trebbiano & Chardonnay
Tasted 18/8/2024

Vino di Tavola (Pusterla vineyard, Brescia)

2020 Monte Rossa Pusterla Vino Bianco
Colour: medium gold
Nose: medium intensity, secondary, youthful. Dried apricot, lemon, lemon peel, underripe pineapple. Heritage apples. Honeyed. Almonds? Ginger? Wet stone, saline. Hay.
Palate: dry, medium(+) acidity, medium alcohol (12%), medium(-) bodied. Dried apricot, lemon, lemon peel, underripe pineapple, kiwifruit. Heritage apples. Honeyed. Ginger? Wet stone, saline.
Conclusions: very good. I wasn’t expecting much from this for whatever reason — I worried it might just be a novelty — but it’s a genuinely interesting, complex, and unusual wine. Hard to pin down the flavours and aromas precisely. 100% late harvest Invernenga, an autochthonous grape cultivar from Brescia, Lombardy, Italy, and grown in a vineyard within the castle grounds of Brescia — said to be the largest urban vineyard in Europe. P&P (pop&pour), not decanted.
Seal: screwcap.
Tasted 2/5/2024

Bergamo

Bergamo and the Bergamo hills, from  la Torre Civica

Bergamo also boasts a long relationship with the vine. The Romans planted vineyards around Scanzorosciate, and the region was well regarded enough for its wine that the village of San Lorenzo had a temple to Bacchus. The Lombard invasions set viticulture back, but monasteries kept the culture of the vines alive, and by the fifteenth century Bergamo’s wines were pouring into Milan. Like elsewhere, phylloxera caused devastation, but early twentieth-century replantings set the stage for the region’s modern revival.

The creation of the Valcalepio DOC in 1976 was a key moment for the modern history of wine growing in Bergamo. The DOC covers the hills between the Orobic Alps, Lake Iseo, and Monte Canto. The reds are usually Bordeaux blends — a bold choice at the time — ‘Merlot’ with ‘Cabernet Sauvignon’, occasionally scented with the local ‘Moscato di Scanzo’. The whites draw on ‘Chardonnay’, ‘Pinot bianco’, and ‘Pinot grigio’. They’re good food wines, often with a savoury edge that suits the region’s hearty cooking. In 1993, a Valcalepio rosso riserva DOC was created, allowing for the production of longer-aged wines. Also worth noting: a passito made from ‘Moscato di Scanzo’, made locally since at least 1347, is said to have been a favourite of Catherine the Great. (I’ve yet to try this myself… even in Italy, the wines from here can be a bit tricky to find!)

Terre del Colleoni DOC, a newer denomination (2011), takes in a broader cast of grapes: ‘Schiava’, ‘Marzemino’, ‘Franconia’, and the rare ‘Incrocio Terzi’, along with ‘Manzoni bianco’. These wines tend to be fruit-forward and easy to enjoy, from pale, cherry-coloured reds to aromatic whites with citrus and stone-fruit lift. To my mind, it’s when you add in the tiny appellations such as Moscato di Scanzo DOCG — a sweet red made from the native grape of the same name — that Bergamo’s picture comes fully into focus, making it far more interesting than its low profile might suggest.

And that, really, is the point: neither Brescia nor Bergamo may be household names in the wine world, but both reward a little curiosity — and a bottle or two shared2 at the table.

Valcalepio DOC

2020 Locatelli Caffi Valcalepio
Colour: medium (-) purple
Nose: medium (-) intensity, secondary, youthful. Cassis, red plum, red cherry, pomegranate. Cola. Blackcurrant leaf, maybe green capsicum? Sweet spice. Earthy, forest floor
Palate: dry, medium acidity, medium tannins, medium alcohol)13%), medium bodied. Medium (-) intensity , medium(-) length finish. Cassis, red plum, red cherry, pomegranate. Cola. Blackcurrant leaf, maybe green capsicum? Sweet spice. Earthy, forest floor
Conclusions: good. Can drink now but suited to further ageing
Seal cork. Merlot – Cabernet blend.
Notes from half bottle at Da Ornella, Bergamo
Tasted 2/6/2023

2023 Locatelli Caffi Valcalepio
Colour: medium ruby
Nose: medium(-) intensity, secondary, youthful. Red plum, blackcurrant. Strawberry, redcurrant. Gooseberry, green capsicum. Sweet spice. 
Palate: dry, medium(-) tannins, medium alcohol (13,5%), medium acidity, medium bodied. Red plum, blackcurrant. redcurrant. Gooseberry, green capsicum. Sweet spice. 
Conclusions: good – just a little short on the palate. Can drink now, but suited to further ageing. P&P (pop&pour), not decanted. 
Half bottle at Trattoria da Ornella, Bergamo.
Tasted 26/8/2025

2018 La Collina ‘Bruno’ Valcalepio Rosso
Colour: medium(-) ruby
Nose: medium intensity, secondary, youthful. Fruits of the forest: strawberry, blueberries, blackberry, blackcurrant, redcurrant. Hint of forest floor? With air, dried orange peel. Vanilla, cedar.
Palate: dry, medium(-) acidity, medium(-) tannins (v.smooth & fine grained), medium alcohol (13,5%), medium(-) bodied. Medium intensity, medium length finish. Fruits of the forest: strawberry, blueberries, blackberry, blackcurrant, redcurrant. Hint of forest floor? With air, dried orange peel. Vanilla, cedar.
Conclusions: very good. Can drink now, but suited to further ageing.
Seal: cork
Notes from half bottle at La Ciotola Restaurant, Bergamo
Tasted 3/6/2023

2018 Tenuta Castello di Grumello Valcalepio
Colour: medium ruby
Nose: medium intensity, secondary, youthful. Red cherry, red and black plum, cassis. Juniper berry. Dried red fruit leather, strawberry. Rosemary? Cedar, bitter cocoa. Earthy and leathery in the empty glass.
Palate: dry, medium(-) tannins, medium(+) acidity, high alcohol (14%), medium bodied. Medium intensity, medium length finish. Red cherry, red and black plum, cassis. Juniper berry. Dried red fruit leather, strawberry. Tamarillo, cranberry. Rosemary? Cedar, bitter cocoa. Earthy and leathery.
Conclusions: very good. Can drink now, but suited to further ageing.
Seal: DIAM5 cork 
Merlot and Cabernet Sauvignon.
Tasted 13/11/2023

Terre del Colleoni

2021 Villa Domizia Punto ‘Uno Manzoni’ Terre del Colleoni Bianco
Passionfruit, pineapple, apricot, lemon curd. Lots of fresh tropical fruit backed up by fresh citrusy acidity. Wet stones. Quite fresh and refreshing.
No detailed notes since by the glass at a restaurant. Very good!
By the glass at La Bottega Del Gusto, Bergamo
Tasted 3/6/2023

and finally… a Franciacorta

NV Facchetti Franciacorta Franciacorta Nature
Colour: pale lemon yellow
Nose: medium(-) intensity, youthful, secondary. Lemon, lemon peel, green apple. Hint of beeswax and lanolin. Cream. 
Palate: medium(+) acidity, medium alcohol, medium bodied, delicate mousse. Medium intensity, medium length finish. Lemon, lemon peel, green apple. Hint of beeswax and lanolin. Cream. Wet stone, hint of salinity. 
Conclusions: very good! Can drink now, but likely suited to further ageing. 
By the glass.
Tasted 23/8/2025

References

Brescia – Quattrocalici. https://www.quattrocalici.it/provincia/brescia/
Vigneto Pusterla – the terroir. https://www.vignetopusterla.com/il-terroir/
“The largest urban vineyard in Europe is in Brescia: showcasing a rare grape”, Gambrro Rosso. https://www.gamberorossointernational.com/news/the-largest-urban-vineyard-in-europe-is-in-brescia-showcasing-a-rare-grape/
Curtefranca DOC – Quattrocalici. https://www.quattrocalici.it/denominazioni/curtefranca-doc/
Montenetto di Brescia – Quattrocalici. https://www.quattrocalici.it/denominazioni/montenetto-di-brescia-igt/
Consorzio Montenetto. https://consorziomontenetto.it/index.php/montenetto/
Bergamo – Quattrocalici. https://www.quattrocalici.it/provincia/bergamo/
Valcalepio DOC – Quattrocalici. https://www.quattrocalici.it/denominazioni/valcalepio-doc/
Valcalepio DOC – Consorzio Tutela Valcalepio. https://www.valcalepio.org/vini-tutelati/valcalepio-doc/
Moscato di Scanso – A Sprinkle of Italy. https://asprinkleofitaly.com/moscato-di-scanzo-docg/
Terre del Colleoni DOC – Quattrocalici. https://www.quattrocalici.it/denominazioni/terre-del-colleoni-o-colleoni-doc/

  1. I don’t really like the term ‘wine enthusiast’, perhaps due to a hazy memory of the joke about axe wielding maniacs preferring to be called axe enthusiasts. Nothing quite captures what I want to say as well as the French phrase ‘amateur de vin’. Unfortunately, the word amateur has become rather devalued in English — it is rather sad that doing something simply for the love of it is seen as a negative! ↩︎
  2. Well, I’ll try. Sharing is difficult, especially with good wine. ↩︎

Château de Bas-Beechmont, part 3

In the third, and perhaps final, instalment of this saga (coughs), I finally bottled the wine. Part 1 can be found here, and part 2 can be found here. It had been on lees since April, with no racking or lees stirring. Time on lees can add complexity to wine, so although I’d originally planned to bottle the wine in May or June, the additional time on lees was most likely beneficial. No need to panic yet!

Bottling… 25th August 2019
iPhone SE, built-in 4 mm (~29 mm) lens, 1/100 sec, f/2.2, ISO 32.

The hardest part,as is often the case, was cleaning. Since I am cheapskate, I was re-using bottles, which needed washing with water, and then with hot water and sodium metabisulfite in the form of a half a campden tablet. I also used the same food-grade bucket that had been used as a fermenter for blending. I emptied both demijohns into the bucket, along with half of a campden tablet, after tasting the wines to ensure that they had not spoiled or developed taints. Thankfully, neither had.

The wines were bottled using a funnel and some muslin as a filter. Despite this, a small amount of lees made it into the bottled wine, just enough to make the wine slightly cloudy. In the past, this would likely have been seen as a fault, but there has been increasing tolerance of cloudy wines in part due to the natural wine movement — so I wasn’t unduly worried by this. Thankfully, it was all a fairly simple task, and nothing went wrong. Even if it makes it a bit boring to read about…

Making labels… some have since had ‘Chateau de Bas-Beechmont’ added to them.
25th August 2019.
iPhone SE, built-in 4 mm (~29 mm) lens, 1/33 sec, f/2.2, ISO 125.

The last task was to label the bottles. Since the grenache grapes were grown near Red Cliffs in the Murray-Darling region, I labelled it as a Murray-Darling Grenache. Most were labelled as ‘Maison Duley’, some with ‘Chateau de Bas-Beechmont’ as well. (I also noted the grape grower, as it was labelled on the crate of grapes I bought at the Rocklea Market).

So, the real question… how was the wine? Well, it seems good. The colour is a moderate to light strawberry/pink, which is quite good for grenache. When first bottled, it was still quite dominated by liquorice and medicinal characters, with raspberry and strawberry in the background, as well as some more yeasty, leesy character. There was also some stemmy, woody character in there too, presumably from the whole bunches. It was also quite carbonic and fresh, with some carbon dioxide still in solution.

After being left in a glass for a few hours, it seemed more fruity, with raspberry, strawberry, and maybe a hint of balsamic. The stemminess is still present, maybe providing some slightly herbaceous elements to the flavour, but is not dominant or over-bearing. The acidity is fresh and lively, and the tannins are very smooth and understated. Overall, I’m happy with it, and will see what it’s like after it’s like after a month or two. And it’s been fun — which, I guess, was the point…

Wine colour

Continued from: Part 1; Part 2.

Château de Bas-Beechmont, part 2

It’s been about ten days since my last post, and since then I’ve pressed the wine into two 5 L demijohns. I made the decision to press when the ferments where almost dry. I had added the EC1118 a day before I planned to press, to ensure they fermented successfully to dry.

Wineries often use ‘clinitest‘ tablets to test for dryness, since refractometers don’t work well at lower sugar concentrations. These were originally designed for testing for diabetes, but helpfully are also perfect for wine. Lacking these, I used a dipstick test that may or may not also be effective for wine.

Fermenting must, on skins
iPhone SE, built-in 4 mm (~29 mm) lens, 1/17 sec, f/2.2, ISO 400.

As predicted, pressing was an ‘interesting’ affair given the lack of an actual press, and one that took several hours. I initially began by attempting to press using the potato masher I’d been using to plunge the ferment, which did not really provide the level of pressure required. I ended up reverting to the age old technique of foot crushing — after cleaning my feet, I should add. In the event, it was a challenge to fill both demijohns; by the end I was pressing off maybe 20 or 30 mL at a time. Almost not worth it… The first demijohn received mostly free-run, plus some pressings, the second only pressings.

I was surprised — though I shouldn’t have been — that there were a lot of intact berries remaining in the ferment. I suppose I’m used to larger ferments, where the weight of the ferment would have crushed them. As a consequence, these berries released quite a bit of sugar back into the ferments, which restarted in the demijohns. Demijohns I had not bough air-locks for, so had to seal with clingfilm(!). Again, I should not have been surprised.

Intact berries can undergo intracellular fermentation, but this can only produce about 2.5% alcohol, at which point fermentation stops until the berry is crushed, and the yeasts can ferment the juice. This is not dissimilar to the carbonic maceration that is tyical of Beaujolais, but without the blanketing layer of CO2 — hence, it is often called semi-carbonic maceration. It is not uncommon in whole bunch ferments.

Demijohns
iPhone SE, built-in 4 mm (~29 mm) lens, 1/17 sec, f/2.2, ISO 400.

The free-run demijohn finished its primary ferment only a few days after, and I added another 25 g/L of sulfites. It is still bubbling slowly, however, so may have decided to undergo at least a partial malolactic fermentation. I have no way to test for this, however. This really is primitive winemaking!

The pressings demijohn is still bubbling away, two weeks after the ferments had first been inoculated. I’m used to inoculated wine ferments only taking 7 – 10 days, so I am somewhat surprised by how slowly it is progressing. I’m also beginning to wonder whether it is also undergoing a malolactic fermentation, which can occur concurrently with the primary, alcoholic, fermentation. Luckily, the grapes had plenty of fresh, lively acidity, so a malolactic fermentation would only help the wines.

It’s a bit hard to sample from the demijohns, so I don’t know how the wines are tasting. Hopefully, I will get to try them in April. As with any wine making, it is a matter of patience.

Continues: Part 1; Part 3.

Château de Bas-Beechmont, part 1

Destemming grapes by handDe-stemming by hand
iPhone SE, built-in 4 mm (~29 mm) lens, 1/17 sec, f/2.2, ISO 500.

I have been wanting to try my hand at making my own wine for some time. I have, of course, helped others make wine numerous times, first during my oenology course at the University of Adelaide, and as a cellar hand. But I was always following someone else’s instructions, and had little input myself. Perhaps it’s an ego thing, but I wanted to try making a wine myself.

The problem for some years has been obtaining grapes. For years, I’d tried to grow them myself, but without luck. Perhaps it was the south facing slope, the lack of rain, or the poor (free-draining, eucalypt mulch) soil. In Sydney, at least, it’s possible to buy wine grapes from Flemington Market, and this is widely publicised. In Brisbane, there did not seem to be any equivalent… at least, not that I could find online. As it happened, there was. Eventually, I found that Ireland 53 at Rocklea Markets sells wine grapes for a few weeks in March, if you order in advance. Last year, I missed out by a few weeks. This year, I was ready…

After ‘phoning to confirm, I got up at 5:30 am to be at the market by 8 am on Sunday. I bought a crate with 20 kg of Murray-Darling grenache for AU$30. There wasn’t a choice, it was a matter of what was available at the time. The quality seemed decent — a bit of rot, but nothing too serious. I don’t have a refractometer, but the fruit tasted very sweet, and the juice was rich and delicious. Being grenache, it was safe to assume it probably at least 13,5° Baumé, which works out as approximately 14% potential alcohol.

Riverina GrenacheMurray-Darling Grenache
iPhone SE, built-in 4 mm (~29 mm) lens, 1/20 sec, f/2.2, ISO 200.

The first problem was to de-stem the grapes. Not having a de-stemmer (this was being done on the cheap!), I hand de-stemmed the grapes into a food grade 20 L plastic bucket, throwing in maybe a dozen or so whole bunches. The idea was that the stems would add some tannins and some structure, something which grenache can sometimes lack.

 

Interestingly, I noticed some of the bunches were more ‘gris’ than ‘noire’ in colour. This would be a phenomenon that would be more explicable in France, where I’d assume that a few vines of grenache gris were planted in among the grenache noir. Since grenache gris is rare in Australia, I assume it’s either within normal variation from grenache noir, or it’s something else altogether. Either way, the bunches were ripe and so went into the ferment…

Fermenting mustFermenting must
iPhone SE, built-in 4 mm (~29 mm) lens, 1/33 sec, f/2.2, ISO 25.

Finally, I crushed the grapes as best as I could, and inoculated with R56 yeast (with EC1118 on standby, in case the alcohol levels are too high for this particular yeast). A potato masher served to plunge the ferment. After a few days, the colour looked good, and the wine was starting to taste pleasantly of strawberries. So far, it had not gone volatile or oxidised (a problem with grenache in particular, and with small ferments in general). But, of course, that can always change.

The next challenge is pressing into barrel… given that I have neither press nor a barrel. While small presses and 10 L barrels are available, they are expensive. I am trying to do this on a budget, so I will improvise…

Continued – Part 2; Part 3.

(Vinous) Complexity and Paradox in Burgundy

Pommard from the vineyards, 27th September 2013 Pommard from the vineyards, 27th September 2013
Pentax K-x, 18-125 mm lens @ 73 mm, 1/125 sec, f/8.0, ISO 200.

Some places you can’t forget. They bury themselves deep within you, and refuse to leave. Everything else is seen in relation to them – for better, or worse. I grew up in London, and the brilliant blue of a clear winter’s day, or the oppressively leaden sky of a dismal summer day, is always with me.

One such place, for me, has been Burgundy. For one reason or another, I have always visited in late August or early September. Arriving by train, from London via Paris, you first notice how Burgundy still clings to summer, even as London sidles towards the grey drizzle of winter. Changing trains in Dijon, the local train to Beaune – historically, the wine producing capital of the region, where the major wineries had their bases – local stations and vineyards flash by, as well as woodland and cornfields.

Once in Beaune, it’s hard to know what to do. Most of the famous wineries require appointments, or are outside Beaune itself, in the smaller villages, in the cellars of medieval houses, or in concrete warehouses on the edge of the vineyards. Still, as Mike Steinberger said, “there may be different paths to wine geekdom, but they ultimately all converge in the same place—Place Carnot” – so you may as well head straight there. Place Carnot is, more or less, the main square of Beaune: its heart, and its centre. If nothing else, there are bistros and restaurants, and beautiful cakes at Dix Carnot.

This little square surrounds a small park; the tall buildings seem quintessentially French. Just a street off to one side is the Hospice de Beaune, often also called the Hôtel Dieu, with its elaborately decorated roofs made from coloured tiles. Once I’m sat outside Dix Carnot with some improbably elaborate cake, I know I’ve arrived. I can plan: what wineries to visit? Hire a car? A bike? (Yes, many of the villages south of Beaune are within comfortable cycling distance; to branch out further afield and see forests and monasteries, or even just the villages north of Beaune, a car is essential).

Frankly, Burgundy is a maze, and it will take you time to get your bearings. Take the time. Visit again. You will. I feel I am, slowly. For whatever reason, I have only visited in late summer or early autumn. I would love to see the Côte d’Or blanketed under drifts of snow, or with the first buds of spring just breaking. It is a tapestry of ancient villages and tiny vineyards, each with its own subtly different aspect on the hillside, its own soil, its own climate. Vineyards just next to each other can produce profoundly different wines.

The whole region itself teeters on the edge of several climatic zones: it is part continental, part oceanic, with warm weather sometimes coming up from Provence in the south, and cold from Germany or Switzerland in the north. Even the buildings, and the towns, can start to look Provençal at times, at others, they seem northern. Burgundy is a paradox, but a delightfully vinous one.

Cycling south out of Beaune, there are small roads that wind through the vineyards towards the village of Pommard. These roads are shared only with vineyard traffic, they are ideal for cycling. You cycle past stone-wall circled vineyards, the roadside edged with wildflowers. The track meanders on towards Volnay, then Meursault, and onwards towards Chassagne-Montrachet. I have never made it further south than Meursault, so far.

If you know something about French wines, these are names to conjure with. Pommard is known for robust, tannic Pinot Noir, its neighbour Volnay conversely for ethereal, light, perfumed Pinot. Meursault is known for its Chardonnay. Even without an appointment there are small wineries with cellar doors you can visit. Most will have wines from a range of villages, and it is instructive to taste a couple. Even where winemaking techniques are the same, the flavours and aromas differ dramatically between villages.

A place like Burgundy leaves you with many impressions, as you encounter different faces at different times. Looking back through my notes, I encounter everything from pages and pages of detail on viticultural techniques, to gripes about the weather, plans that have gone wrong, or meals that were more than memorable. Like, being forced into a small restaurant on the edge of Pommard for an unplanned lunch by unexpected rain: an inconvenience at the time, particularly since I was counting my pennies, but the sort of thing I would normally dream of. Or a meal at a small restaurant just outside the city centre of Beaune, with a shared, long table, where I ended up in deep discussion with several other diners, and did not stumble out the door until eleven pm. There were people from Japan, from Brazil, from Switzerland, from Holland, from America – and me, from Australia, via Britain. The Brazilians thought that the Europeans worked too hard, and didn’t live enough – something the Europeans objected to.

The conversation spilled out onto the street outside, and, in my head at least, followed me home. What does it say when you meet people you feel you’ve known all your life, but know you won’t meet them again? Such is travel, I guess.

The next morning, Beaune was as quiet as ever. That morning, I drove to Château-Chalon, leaving Burgundy behind for the foothills of the Alps. But, as always, I knew I’d be back.

 

Clos de Lambray, Morey-Saint-Denis, Côte de Nuits, 27th September 2013Clos de Lambray, Morey-Saint-Denis, Côte de Nuits, 27th September 2013
Pentax K-x, 18-125 mm lens @ 40 mm, 1/100 sec, f/8.0, ISO 100.

 

This is a longer form of an essay I wrote for a travel writing competition (which I didn’t win!), organised by travel insurance company World Nomads. The version submitted can be seen here.