The book we are dealing with in this issue of Wine and Letters is entitled: “FALSE MYTHS AND TRUE LEGENDS OF THE WORLD OF WINE”. Its author is Antonio Tomás Palacios García, Winemaker and Doctor in Biology, published by AMV Ediciones, in its second edition of 2018.

 

 

The book we are dealing with in this issue of Wine and Letters is entitled: “FALSE MYTHS AND TRUE LEGENDS OF THE WORLD OF WINE”. Its author is Antonio Tomás Palacios García, Winemaker and Doctor in Biology, published by AMV Ediciones, in its second edition of 2018.

The author is very well known in the wine world, not for nothing. Apart from the studies mentioned in the preceding paragraph, he is well versed in all areas, from winemaking by land and its air, by sea and its sea bed (sic, just as it sounds), through research, chemical and microbiological analysis, to teaching both as a university lecturer and as a trainer in private companies. And although it is not mentioned on the back cover of the book, he is very much at ease, perhaps I should say experienced, in the field of marketing.

The book is aimed, as the subtitle indicates, at “consumers and professionals”. And indeed, the former will find in it the ‘affective’ chemistry that will help them learn to enjoy themselves more, and the latter the scientific chemistry that will help them in their decision making.

It contains forty-one points, and a “bonus track”, which is a love story between the beautiful Berry, the grape, and the heroic Saccharo, the mushroom, of whose mutual fruition wine is the glorious son, a love and erotic relationship which, like all self-respecting mythical relationships, needs its Cupid, a god, in this case in the form of a human being, who brings these two protagonists into relationship, controls and enriches their productive relationship.

 

 

Obviously, we cannot pretend here to summarise the content of each of these forty-one points, however succinctly. The issues dealt with in them will be of interest to all wine lovers. Nature and man in winemaking, sediments and filtration, oxygenation, ageing, smell and tasting, definition and verbiage, ecology and fraud, enjoyment of wine and “superfluities” (as Manolito, Mafalda’s friend, would say), winemaking science and homeopathy, healthy and dreamed-of effects of wine, price and value, “terroir” and mineral perception, pairings, ageing…

 

 

The author delivers what he promises: he debunks myths and affirms truths with scientific belligerence and unbridled passion for his work and its results. Some of that passion rubs off on us – long live wine! Although he warns us against romanticism. The market is the market, and if it does not enter the market, the winery is not a winery, or will soon cease to be one.

The book’s teachings could be condensed into the following axiom: respect man as much as you respect nature. He finds profound incongruity in asserting that the more nature acts and the less man works the better the wine, whereas the natural destiny of grapes without human intervention is to die in the form of vinegar.

 

 

From the very first pages, it is argued that it is “human intervention” in the vineyard and later in the winemaking process (winery) that determines the quality, personality and differentiation of the final result. In this effort, it must meet the demands of consumers, and therefore the fashions dictated by prescribers, which only technology and scientific innovation are capable of following. We can perhaps here raise our eyebrows in a questioning gesture. Pages later, after addressing the issues of decanting, sediment and filtration, he concludes that the winery’s technical decisions to maintain the sensory integrity of the wine should not depend on fashions or trends, but on the chemical and microbiological knowledge of the product. Contradiction? I don’t think so, I would rather say balance, proportion, fair measure, respect… (One reads about practices such as this kind of molecular deconstruction/reconstruction of the must through a process of reverse osmosis, and one cannot help thinking once again that nothing good can come out of “perfectionism”, no matter how many points it gets).

 

 

This same scientific vocation is reaffirmed later on; a firm commitment to environmentalism should not exclude technological modernity, rejecting what he describes as ravings, such as homeopathy in winemaking, or the use of cosmic energy or esotericism; we will not enter into the debate here and now, we limit ourselves to sharing the assumption that the fact that a wine is defined as natural does not imply that it is good. It also combines “terroir” with winemaking technique, and tradition with technological innovation…

In short, three hundred and thirty-one pages of love for a job well done and well founded, which will contribute to increase your winemaking culture, therefore your resources to appreciate the “nature” of wines, and ultimately your desire to put that culture into practice, which is what really matters: to drink wine always in a balanced way and in the best of company (both personal and nutritional).

I.- Ferran Centelles, who worked at the legendary El Bulli restaurant between 1999 and 2011, won the 2006 Ruinart prize for the best sommelier in Spain and was awarded the National Gastronomy Prize in 2011, among other merits, has written a book for his fellow sommeliers.  Those of us who are certainly not experts on the subject should be pleased about it. We can hope that some of his teachings will be absorbed by the recipients, and therefore have a beneficial influence on us when we go to enjoy ourselves in their restaurants.

Because at the end of it all, after all the studies, tests, analyses, intuitions and conclusions about which wine, in perfect synergy with the food served, is the one that, theoretically and empirically speaking, will provide, objectively speaking, the greatest pleasure, the sommelier must go one step further. He must capture the exterior atmosphere and the inner messages of the customer, in order to obtain the same result, although now subjectively speaking, that is, he must be able to sense which of the possible wines that his knowledge dictates to him, will provide the greatest satisfaction to the consumer at that specific moment. Of course, if in order to do so it is necessary to know a lot about the psychology of customers, it is infinitely more necessary to know about wines.

The title of the book, already indicated, is “Which wine with this duck?” (¿Qué vino con este pato?), an approach to the essence of pairings. Here the duck lends itself to a play on Spanish words: obviously we are thinking of “dish” (plato). Perhaps the author is referring to different categories of ducks, for it is precisely one of them, the “Apicius duck”, which, when served with Banyuls wine, is the beginning of the modern theory of pairing, the pairing of contrasts. If the author had preferred a historical perspective, he would probably have resorted to the “eel” (anguila), for which he gives one of the earliest written references to pairing: the Romans were particularly fond of it with a good Phalernum from the region of Naples. But with eel it is more difficult to achieve synergy and perhaps even rhyme.

 

 

II.- Inevitably, at the beginning of the book, the author is busy trying to give a name to the object of the book. Pairing  (in Spanish: maridaje). It seems that nobody likes the word “maridaje”, but it also seems that everybody, including the author and the author of these lines, have resigned themselves to the fact that they cannot find a better word. Harmonisation, concord, association… sound good, but they do not fit the purpose at all. Spanish words ending in “aje” that are expressive of an action sound forced, and furthermore, in the case of “maridaje”, this seems to contain an annoying gender perspective [1] that could not be further from reality, since its essence is not the assimilation of the couple to one of the factors, but the sublimation of both. That the union of drink and food is better than the sum of both elements separately. I will stick with the second definition of pairing given by the DRAE (Royal Spanish Academy Dictionary): “Union, analogy or conformity with which some things are linked or correspond to each other; e.g., the union of the vine and the elm tree, the good correspondence of two or more colours, etc.”. Can there be any more seductive pairing than this symbiosis between the vine and the elm?

The aim of “pairing” is therefore to improve the result by the sum of factors. It follows, as the author will gradually discover, that the versatility of wine is its most precious virtue when it comes to pairing.

[1] Maridaje is derived from marido. In Spanish marido means husband.

 

 

III.- In a certain way, the book traces the history of the evolution of the technique of food and wine pairing from the moment when the inadequacy of the commonplaces about it inherited from the past was perceived.

However, it should not be said that these inherited basic criteria, handed down in the domestic sphere from father to son, have lost their meaning. At least they remain for us laymen as general guiding principles. It is not unreasonable to respect that whites go better with fish and reds with meat, or sweets with dessert – except for that cloying foie gras with Sauternes, nowadays in general decline -, or that the order should be from lesser to greater in terms of colour, temperature or alcoholic strength. Factors that facilitate the choice also remain valid. For example, the adaptation to regional wines, once almost inevitable, is now more voluntary. And above all, the subjectivity of taste; there are colours to suit every taste, and wines too; we can make little mistake by firmly following this principle.

 

Of course, such simple pairings cannot satisfy wine experts, and even less so if one considers the evolution that food, especially restaurant food, has undergone in the last few years.

IV.- Ferrán Centelles then reviews the people who have had or are having most relevance in the evolution of the theory and practice of food and wine pairing. Most of them have published some kind of work, which is included in the very interesting bibliography that the book contains.

Each milestone in that evolution is a story. A story of people, conversations and journeys, which make the book a pleasure to read, and to follow. I take the liberty of making an organic and light-hearted classification.

Thus, he deals in the first place with:

• the “imagined” pairings with Rafa Peña and Mireia Navarro (Gresca restaurant),
• Tim Hanni’s “food pairing for the ‘diner’ and not for the ‘dinner’“,
• the “family pairing” with Evan and Joyce Goldstein;

Then with:

• the “methodological pairing” based on the elements of “contraposition and conformity” of wine and food, by Gino Veronelli and Pietro Mercadini, culminating in “Il Vino”, Enrico Bernardo’s restaurant where, in his most audacious proposal, it is the wine, the only object of choice on the part of the diner, that decides his meal.
• The “unfathomable pairing” of El Bully’s forty dishes, a challenge for which our author, who was largely responsible, managed to achieve oriental calmness through Jeannie Cho Lee, who provided the panacea of “versatility”, and to find inner peace through Jancis Robinson (“The obsession with achieving the perfect pairing sometimes creates too much pressure”) and her husband Nick Lander (“The fewer rules, the better, don’t be intimidated by the pairing”).

 

 

However, he continues his research with,

• Robert J. Harrington’s “pyramid pairing”, who places the basic tastes – salty, sweet, sour, bitter, and “umami” (“savoury”, the basic taste in Japan, today, by extension of sushi and derivatives, of universal rank, the result of monosodium glutamate) – at the base of a pyramid for the coordination of the elements, “texture” – the fat structure – at the middle level, and “aromas” at the top.
• Pierre Chartier’s “molecular pairing”, which could be described as an “inverted hierarchy” because at the base of his pyramid are the “aromas”, determined by the “dominant molecule”.
• the “cross-cutting”, synthesis or “combined” pairing about which our master author does pronounce himself: “in the pyramid, all the elements are of equal importance”.

 

 

to finish with,

• – the “integral pairing” or “relativity of pairing” of Josep Roca (El Celler de Can Roca restaurant), no pairing is suitable if it does not connect with the customer, so it is necessary to know all the rules and regulations on pairing in order to be able to break them with full knowledge of the facts for the greater satisfaction of the diner.

IV.- And what happens then, once all the possibilities have been analysed, with the artichokes that we all know are “inmaridables”, that is, impossible to pair? “The artichoke on the defendants’ bench” is the title of the chapter that deals with it. (Also sitting on the bench are vinegar, asparagus, eggs and chocolate – the latter to my surprise; we are back to tastes and colours: in my view, a very dark black chocolate with a powerful purplish red wine is to die for. However, a product that I learnt about thirty years ago in the kitchen of one of the most prestigious wineries in the land of the Rioja is not seated on that bench. The sign hung on the wall read: “Warning: Do not serve wine with leeks, especially if you are an expert”. I don’t know whether the sign or the kitchen, I mean, are still there, but the winery is still going strong; thus, the saying should be applied).

 

 

Allied with his friend, the aforementioned Rafael Peña, who prepared artichokes in seven different ways (raw, boiled, grilled, battered, fried, pickled, in broth), he paired them with nine Spanish wines of different profiles (cava, rosé cava, light and full-bodied whites, medium-bodied rosé, powerful red, oxidative, amontillado, txakoli). Sixty-three possible combinations to get rid of the undeserved bad reputation. Surely you will find at least one that fills you with good sensations. Preferably avoid red.

 

 

V.- By way of conclusions.

If it is a pairing in a restaurant, trust that the sommelier has read Ferran Centelles’ book to the best of his ability.

When it comes to home-cooked meals, follow his advice. And… rehearse, rehearse, rehearse… in other words, enjoy, enjoy, enjoy. And if it happens that a wine does not work with the food, you know that mistakes teach you more than successes and that nothing tragic is bound to happen, as Jancis Robinson herself says: “It’s amazing how something as absorbent and neutral as bread can act as a neutraliser”.

There is some unanimity on the Internet that Roald Dahl published Taste in The New Yorker magazine on 8 December, 1951. I have also found some pages that tell us that it had previously been published in the Ladies Home Journal in 1945. The year is always very important when talking about wines, so this first publication is suspicious since one of the wines mentioned (or tasted) in the book is precisely from the 1945 vintage; perhaps the author was updating the vintage according to the date of publication. The clarification remains for anyone who likes doing research.

 

Download the full text of the original story here: Taste by Roald Dahl.

If you are more of a listener, I recommend Aaron Lockman’s dramatization: Aaron Reads: Taste by Roald Dahl – YouTube

There is a Spanish translation: “La Cata”, by Iñigo Jáuregui, carefully edited by Nórdica Libros SL, with magnificent illustrations by Iban Barrenetxea in 2014, which is now in its tenth reprint.

You can also find on the web many other stories by the author, whose sense of humour is proverbial. Some of them are related to eating and drinking, which is what interests us most here; among the children’s stories, I can suggest the one about the Anteater, literally fed, this type of bear, by the peculiar English pronunciation, and among those for adults, Lamb to the Slaughter, which shows us the extra gastronomic usefulness of his leg.

Let me say no more about them, because I don’t want to spoil the stories for you. With this one –Taste– it is truly difficult to do so, because I am burning with the desire to tell you why I consider it a masterpiece. My intention is probably futile because as soon as you open any webpage about it, they will spoil it for you. I want to avoid that, and therefore I will limit myself strictly to the aspects that concern us here, which are those related to wine. I will divide them into four sections: (01) the wine taster and the wine supplier, (02) the act of tasting, (03) the language of tasting, and (04) the wines tasted

(01) THE CHARACTERS:

Here you have the members of the table, according to Iban Barrenetxea’s apt image. We will refer exclusively to the main characters that you can easily identify.

 

 

The proponent of the tasting, that is to say, the host, is

• a stockbroker. To be precise, he was a jobber in the stock market, and like a number of his kind, he seemed to be somewhat embarrassed, almost ashamed to find that he had made so much money with so slight a talent. In his heart he knew that he was not really much more than a bookmaker – an unctuous, infinitely respectable, secretly unscrupulous bookmaker – and he knew that his friends knew it, too.

So, he was seeking now to become a man of culture,

• to cultivate a literary and aesthetic taste, to collect paintings, music, books, and all the rest of it.

Knowing about wine was part of it, and he seemed willing to do anything to be recognised for his ability to choose good wines.

The taster is a famous gourmet; he is defined almost as a true professional,

• He was president of a small society known as the Epicures, and each month he circulated privately to its members a pamphlet on food and wines. He organised dinners where sumptuous dishes and rare wines were served.

A geek, as we defined him in the first of these letters? Perhaps… Would we today consider a geek someone who describes the custom “to smoke at table” as “a disgusting habit”? Surely not; and who refuses to smoke “for fear of harming his palate”?

In any case, a true wine tasting professional. At that moment he becomes

• Somehow, it was all mouth – mouth and lips – the full, wet lips of the professional gourmet, the lower lip hanging downward in the centre, a pendulous, permanently open taster’s lip, shaped open to receive the rim of a glass or a morsel of food. Like a keyhole, I thought, watching it, his mouth is like a large wet keyhole.

In short, two oenological archetypes: the connoisseur, who cannot bear to be told that he does not know everything, and the upstart, who cannot bear to be told that he knows nothing.

(02) THE TASTING:

The host first pours a thimbleful of wine into his glass, literally “tipped” it, as the wine rests in a wicker basket with the label facing downwards – the typical “ridiculous” basket – and then fills the glasses of the others. Filling here means “filling up”, i.e., what I understand to be up to the top, maybe not to the rim of the glass, but it looks like the typical filling up of a money-making restaurant that tries to make you drink wine (taking out even the second bottle, as soon as they see that the level of consumption has dropped). Such an overflowing glass, so pretentious and vain in its senseless measure, prevents the wine from tasting and smelling until it reaches its rational measure. Perhaps an insinuation in this case, like so many others scattered throughout the text, about the host’s lack of knowledge and surplus wealth.

In any case, the glass was not so full that it prevented the taster’s nose from entering, the act with which he begins his “impressive performance” – and it was indeed quite a “performance”!

 

• The point of the nose entered the glass and moved over the surface of the wine, delicately sniffing. He swirled the wine gently around in the glass to receive the bouquet. His concentration was intense. He had closed his eyes, and now the whole top half of his body, the head and neck and chest, seemed to become a kind of huge sensitive smelling-machine, receiving, filtering, analysing the message from the sniffing nose.

For at least a minute, the smelling process continued, then, without opening his eyes or moving his head, Pratt lowered the glass to his mouth and tipped in almost half the contents.

He paused, his mouth full of wine, getting the first taste, then, he permitted some of it to trickle down his throat and I saw his Adam’s apple move as it passed by. But most of it he retained in his mouth. And now, without swallowing again, he drew in through his lips a thin breath of air which mingled with the fumes of the wine in the mouth and passed on down into his lungs. He held the breath, blew it out through his nose, and finally began to roll the wine around under the tongue, and chewed it, actually chewed it with his teeth as though it were bread.

After a little sip and a lot of talk, as we shall see below, he continued with his “performance”.

• Again he paused, took up his glass, and held the rim against that sagging, pendulous lower lip of his. Then I saw the tongue shoot out, pink and narrow, the tip of it dipping into the wine, withdrawing swiftly again – a repulsive sight. When he lowered the glass, his eyes remained closed, the face concentrated, only the lips moving, sliding over each other like two pieces of wet, spongy rubber.

And the little sips continued until the end of his memorable performance.

 

(03) THE LANGUAGE OF WINE TASTING:

The descriptive language of wine would surely need many instalments of this series of wine and letters. Today it is a highly standardised language, at least very recognisable among experts or professionals in the sector. The eighties of the last century are often referred to as the time when this need to establish parameters of understanding was felt, even if these were abundant in metaphors and plastic images.

Roald Dahl, if we think about the date of publication of this short story, turns out to be a pioneer in the matter and points out the reasons for this need that was later felt to understand one another. Already at the beginning of the story, when describing the taster, he tells us that

• he had a curious, rather droll habit of referring to it as though it were a living being.

• ‘A prudent wine,’ he would say, ‘rather diffident and evasive, but quite prudent.’ Or, ‘A good-humoured wine, benevolent and cheerful – slightly obscene, perhaps, but none the less good-humoured.’

And at the start of the tasting itself:

. ‘Um – yes. A very interesting little wine – gentle and gracious, almost feminine in the after-taste.’

establishing a gender parameter that was then repeatedly used until, like everything else, it was revised. We will have to come back to this on another occasion.

 

(04) LOS VINOS:

Three wines were scheduled to be tasted, at least three wineglasses per person rested on the dinner table, ready for a feast. However, one, the last one, was not tasted. A sweet wine? A port with the dessert? A surprise with the cheese? We know that there was a lot of shiny silver, but not the nature and distribution of the cutlery, so there is no clue as to the destination of that third glass, of wine of course, as that is what it is called. A real shame, known as it is by its own admission the extent of Roald Dahl’s cellar. It would have been appropriate and interesting to know his taste for that final moment, for I am convinced that he was depicting his own tasting in the story. For particular reasons I exclude champagne altogether.

Of the two wines we have left, one is not really the subject of a tasting. It is drunk, even swallowed without compassion, but not tasted or analysed. And it was certainly not worthy of such mistreatment; it was a Mosel, a Geierslay Ohligsberg, 1945, the product of a purchase that the host had made the previous summer in the same small village of Geierslay, almost unknown outside Germany. He also explains that his choice was not only for that reason, but because it would have been barbaric to serve a Rhine wine before a “delicate claret”, which is what a lot of people “who don’t know any better” would have served:

• A Rhine wine will kill a delicate claret, you know that?

So, a Riesling, almost certainly from that area of the river called Middle Moselle, a vineyard planted on the extreme slope down to the water itself, facing west to receive every last drop of an elusive sun, and with a dark, heat-absorbing slate soil, dry and immediate drainage. A personal weakness!

 

This brings us to the “claret”, which we are told from the outset is the wine to be tasted. The image that this word literally conveys is not very accurate. The “claret” is a typical expression to refer to a Bordeaux -although later by extension it was applied to wine from other areas, such as Burgundy, and even Rioja itself-. This is the wine produced in the Aquitaine region. Such a reference was coined centuries ago, perhaps from the same time that the duchess Eleanor gave it to her “English” husband Henry II, the first Plantagenet – in addition to giving him five children that she had denied to her first husband, King Louis VII of France, who had repudiated her for it. Indeed, even today the English still very much include Bordeaux wine as part of their empire, and of their eccentric idiosyncrasies.

From the beginning of the story, it is clear and obvious that the wine to be tasted could not be any other.

The host explains the purpose of the tasting beforehand; it is a matter of locating the hidden origin of the wine, its producer, the “terroir” in short. Insofar as it is not one of the famous great wines, such as Lafite or Latour, he understands that the expert could at best locate the district it comes from, i.e., whether it is St Emilion, Pomerol, Graves or Médoc, but each region has several communes, and these in turn have many, many small vineyards; it is impossible for a man to differentiate between them just by the taste and smell of the wine. And he does not mind adding that the wine comes from a small vineyard surrounded by other small vineyards.

With such a background, our taster prepares himself for the tasting, body and soul as we have seen.

He eliminates the regions of Saint Emilion or Graves, as the wine is “far too light in the body” to belong to one of them.

It is obviously a Médoc.

Once here, he excludes Margaux – it lacks the “violent bouquet” that Margaux has -, and he excludes Pauillac – because unlike the wines of Pauillac, “it is too tender, too gentle and wistful”. And here the personality of the wine taster speaks at length:  The wine of Pauillac has a character that is almost imperious in its taste, And also, to me, a Pauillac contains just a little pith, a curious dusty, pithy flavour that the grape acquires from the soil of the district. No, no. This – this is a very gentle wine, demure and bashful in the first taste, emerging shyly but quite graciously in the second. A little arch, perhaps, in the second taste, and a little naughty also, teasing the tongue with a trace, just a trace of tannin. Then, in the after-taste, delightful consoling and feminine, with a certain blithely generous quality that one associates only with the wines of the commune of St Julien.

This is a Saint Julien, so there is no room for error. Once here, it is necessary to fix, let’s say, the category. It is not a first growth, it is not a second growth, it is not one of ‘the greats’. It lacks the quality, the strength, the radiance. Maybe a third growth, but no, it is definitely a fourth, even if it is from a great year.

Within the “quatrième cru” of Saint Julien, the tannin in the middle taste, and the quick astringent squeeze upon the tongue, takes us to the small vineyards of the Beichevelle area. But not Beichevelle itself, somewhere nearby, perhaps Château Talbot? No; a Talbot comes forward to you a little quicker than this one, besides if it is the ’34 vintage, as he thinks, it could not be. A vineyard close to both, almost in the middle. And it can be none other than the small Château Branaire-Ducru, and the 1934 vintage. Charming little vineyard, lovely old château, so well-known that he cannot conceive why he did not recognise it at once.

 

It is not appropriate to reveal whether the wine has been guessed correctly or not. Our intention, as we said, was limited to pointing out some characteristics of wines that I hope will be of interest to you and to invite you to participate in a story that, as the classic saying goes, both instructs and delights.

We come to an end, but not without completing the oenological references, as the Moselle is served with fried whitebait in butter – how can we not long for the similar ‘chanquetes’ from the Bay of Cadiz, but fried in olive oil and washed down with a manzanilla sherry from el Puerto? -, and the Bordeaux would naturally be served with a piece of roast beef and a vegetable garnish.