Bubblesonwine's Blog

The Secret of Whole Bunch Pressing for Cap Classique

bubblesonwine — Sat, 28 Jan 2012 11:37:07 +0000

I am convinced that gentle handling of the grapes and then whole bunch pressing of the grapes to produce base wines for Cap Classique is the crucial catalyst in producing Cap Classique with an even a finer bubble….. watch this video and see the difference bewtween quality and press fractions. This makes the process of Cap Classique so interesting.

Looking at base wine during fermentation

bubblesonwine — Sat, 28 Jan 2012 11:30:01 +0000

During fermentation it is extremely crucial taht we know how well our yeasts are doing. It gives us the opportunity to be pro-active and we can start to form some ideas of how these individual base wines develop and where they will eventually end upin – in which of our Cap Classiques. Notice that colour is never a issue as we produce a wide portfolio and we find a home for all of the base wines. We taste at least once a week and study the rate of fermentation at least twice a day. Enjoy the little video link! Harvest 2012 at Graham Beck Robertson!

The Journey of the Whole Bunch Chardonnay Grape

bubblesonwine — Sat, 28 Jan 2012 11:19:55 +0000

A facinating journey of the Chardonnay grape from been picked until it is in juice form. Harvest 2012 at Graham Beck in Robertson. Part of the picking for Chardonnay for our range of Cap Classique base wines.

Harvest News II

bubblesonwine — Mon, 23 Jan 2012 06:01:10 +0000

A Beautiful sight – Monday morning and we are thinking CHARDONNAY! Brilliant fruit great ripeness and ideal for our Blanc de Blancs base wine Cap Classique at Graham Beck Robertson! Very happy that the weather has turned, as I know it is pouring elsewhere this morning, we are fortunte to go flat out today. The vines have recovered from the heat wave and is looking better that ever. The sampling of sugars are spot on and we are happy…. bring on Harvest 2012

Harvest 2012 – News I

bubblesonwine — Fri, 20 Jan 2012 12:38:08 +0000

Graham Beck Wines Harvest 2012 – News I

This is the first bit of news from the ‘dream team’ in Robertson. Most of you know by now that harvest 2012 started on Thursday 12th January. It is approximately a week later than last year. Very challenging weather that we have experience since we have started – but we do love challenges! More than ever, we believe in 2012 will be a great year for the quality of our base wines which proudly make our finest range of Cap Classique’s.

This year we have two young aspirant winemakers in the making: Carel van der Merwe from Elsenburg (middle) and Jaco van der Watt, previous harvest at Cederberg (right) and we are very fortunate to have Julie Breuzon all the way from Champagne – “Our secret weapon” (left in picture). She currently works for Champagne Piaff. Julie will be here only for the base wine harvesting and then goes back to Champagne. Carel and Jaco will see the harvest through with us!

Then as always we need extra cellar hands and see the return for some of our regulars and some new faces. Our four cellar hands this year are: From the left: Adriaan Erasmus, Grenville Kuhn, Lionel Siljeur and Narschel Baadjies. Later this month we will host two Burgundy Exchange students – looking forward receiving them. Hopefully later in the year we can send some of our cellar members to France on the exchange program. We wish all of the newcomers a happy stay and a good harvest. Remember you are part of the “Dream Team”

We had our colourful Harvest Parade on Wednesday 18th January and were very fortunate to have Mrs Rhona Beck here for the Parade. As it is our 21st year in Robertson her presence made it extra special for all of us. In the procession we had some of our local community members partaking. Mrs Rhona Beck thanked everyone involved and wished all the workers a great harvest and thanked them for their loyalty and hard work.

As usual Pieter Fouche blessed the first load and handed it over to the cellar team. This year sees the changes to the grape receival area which promisses to make the harvest quicker. Many thanks to Louis Jordaan for driving this projest. Benna Smal is already impressed about the ease of flow in this area!

The Influence of Dosage and Cellaring Potential

bubblesonwine — Sat, 14 Jan 2012 10:34:54 +0000

RE: dosage and cellaring potential? Question possed by the International Guild of Sommeliers

Replied by Tom Stevenson

Kindly shared by Miguel Chan, South Arfica

“Patrick asked me to “wade in”, so here I am. First, I’ll comment on Pamela’s post: “I’ve tasted plenty of 10 year old non-dosage champagnes that taste wonderfully.” Good points, but I’m assuming that your 10 year old non-dosage Champagnes were literally that and not Champagnes that had undergone 10 years post-disgorgement ageing because I have never tasted a Champagne with 10 years post-disgorgement ageing that hasn’t been chock-a-block with aldehydes. If you have some, then I’m getting on a plane for Oregon straight away! On the other hand, you might like highly oxidative Champagnes and who’s to say you shouldn’t? Pamela also wrote “Isn’t it the high acid that protects against oxidation and promotes the wine to age?” Yes, indirectly acidity protects against oxidation because it affects the pH and at lower pH (higher acid) levels SO2 works more efficiently, but the difference between a totally dry high acid Riesling ageing gracefully for 40 years and a 40 year old Champagne is that the Riesling is not opened up towards the end of its life, exposed to the ai, and resealed.

The following is an enhanced version of my answer published in the current edition of Decanter magazine to a similar question about Champagnes with less than 6 grams of residual sugar:

Having tasted tens of thousands of Champagnes over more than 30 years, I am convinced that a dosage of 6 g/l is the minimum required for producers who seek graceful ageing (i.e., smoothly and with finesse) and that the lower the dosage is below this level, the more coarse and aldehydic a Champagne’s evolution will be after the oxidative impact of disgorgement. I doubt that six is a magical number; depending on the manner of production (oxidative or reductive), the style of the Champagne, grape varieties used, provenance of the grapes, the year of vintage or blend of years and numerous other variables), I’m sure there must be a certain leeway below and above 6g/l exists for specific Champagnes, but let’s keep to six as a generalisation.

This is not to say that I think all Champagnes should receive a dosage of at least 6g/l. As Patrick has correctly quoted me “Every champagne has a particular point of balance, an optimal level of dosage at which the wine feels at its most harmonious and complete. That point is different for all champagnes, depending on the character of the base material: some wines will achieve a balance at ten grams per litre, others at six, a few at three. There are even some champagnes that are sufficiently balanced and complete without any dosage at all, although this is much more rare than many people would like to believe.” But even the best of these low/no dosage are Champagnes that should be consumed, not cellared.

This view of mine is based on an overwhelming amount of empirical evidence, but while this might be good enough for the person at the centre of that experience, I accept, of course, that this is not pure science and others have every right to question it. Indeed, I want to know scientifically whether I am right and, if I am, I want to know what the mechanism is that protects a Champagne with a certain minimum residual-sugar to age without a build-up of aldehydic aromas in its post-disgorgement phase. When I try to think about it rationally, I immediately dismiss the widely held misbelief that sugar has any preservative quality because, at concentrations found in Champagne, it really has none at all. Sugars have several alcohol or hydroxyl groups that could, I suppose, react with the carbonyl group of acetaldehyde, and sugars can react with amino acids, potentially forming heterocycle compounds, which could also bind acetaldehyde, but do these things happen in champagne? I tried searching for papers published about the effect of dosage on the ageing potential of Champagne, but came up empty-handed, which is why, in 2008, after witnessing an alarming increase in the number of low/no dosage Champagnes, I asked Bertrand Robillard, the world’s foremost expert on the chemistry of Champagne, whether sugar could mask aldehydic aromas. He told me: “A lot of people who make a low-dosage or no-dosage Champagne do not add SO2 at the time of disgorgement, and these wines show a high oxydability level. [And yes,] sugar is a good compound for screening some aromas.” When I asked him to elaborate on his last sentence, he confessed, “I’ve never read of any experiments on the influence of sugar on aromas [in Champagne], but I have noticed this effect. I know that some people consider this to be a fact, and we can imagine that some aldehydes could be sensitive to this phenomenon.” It was reassuring to know that Robillard’s lifetime experience had led him to a similar conclusion, but although it is amusing to hear a scientist rely on empirical evidence, it also illustrates a huge gap in Champagne’ scientific knowledge.

Some Champagne producers have gone the low-no dosage route for stylistic reasons and some would prefer to describe this strategy as more natural. However, with lower acidity and disproportionately higher pH levels due to warmer, shorter growing seasons (it is the first time in history that Champagne has experienced three August harvests within the same decade), there has been a large influx of such Champagnes onto the market from producers whose knee-jerk reaction was simply to reduce the dosage. There are other remedies, such as acidification or a combination of acidification with a more subtle lowering of the dosage, but if Champagne is to remain the world’s greatest sparkling wine, the only satisfactory solution will be found in the vineyards, primarily through different clonal selections and, maybe, a shift of emphasis from south-facing to east and west for what slopes should be considered superior. In the meantime, however, Champagne producers are merrily lowering dosage levels based on no scientific research whatsoever and if the empirical evidence is correct they risk damaging Champagne’s reputation for longevity.

Since discussing this matter with Robillard, I have come across a paper called “Volatile Flavoring Substances in Foodstuffs” (Hans Gerhard Maier, 1970), which supports the theory that sugar suppresses acetaldehyde. While this is a useful starting point, later researches in this area have all involved sugar and viscosity levels that are not appropriate for the aroma matrix of a wine. One thing is clear, however: the Champagne industry should not be embarking on ever-lower levels of dosage without conducting its own research into the processes involved.”

Under-Promise. Over-Deliver. And Your Brand’s Fans Will Talk

bubblesonwine — Sat, 14 Jan 2012 06:34:17 +0000

BY Martin LindstromTue Jan 10, 2012

It’s when companies under-promise and over-deliver that people experience memorable moments that will affect their habits for a lifetime.

In a small restaurant in Shinjiku, a suburb of Tokyo, I ordered sake. First, the waitress placed a small wooden box in front of me. Then she arrived with a large tray carrying 40 cups. Each one, she explained, represented a different personality. I chose a blue cup, which she removed from her tray and carefully placed in the box.

As she began to pour the traditional drink into my small blue cup, things took a decidedly unusual turn. I had, as most would guess, expected her to stop below the rim. Instead she continued pouring, the clear liquor overflowing into the wooden box. And then, when most of the cup was submerged, she stopped, smiled, bowed, and said, “Enjoy.”

As I nimbly attempted to fish for the cup, I asked her why she had poured so much. Her answer surprised me. She said, “Martin-san, I do this to show gratitude–to deliver a little bit more than what you expect.”

Do you remember the last time you got more than you expected? Perhaps you were shopping for groceries or even buying something online. Am I right in assuming that, rare as these occasions are, when they happen you don’t forget them? When I was a kid, I was a devoted Lego builder, collecting box after box. I came to realize that Lego always placed a few extra bricks inside the box, bricks never accounted for on the list of inventory. Over the years I began to accumulate a secret collection of Lego’s gifted bricks. Funnily enough, I valued this collection above all others. It took on a kind of sacred quality.

Some years later, I visited the factory and the manager told me that those extra bricks were more a matter of practicality than goodwill. They were included in an attempt to circumvent thousands of requests from distraught parents who had unsuccessfully searched for that missing piece lost under the carpets or beneath the furniture.

Devalued as my collection of special bricks may have been in that childhood moment, what Lego had inadvertently achieved was to over-deliver and under-promise. And that’s what stuck with me.

These days, we seem to be following a reverse philosophy. We over-promise and under-deliver. Or, at best, we deliver exactly what was promised–nothing more, nothing less. Just think of that pre-packed shrimp salad you bought, where you found that there was not a single shrimp among the lettuce, only the four at the top of the plastic container. Or the big bag of potato chips that is more air than chips. In general, we are more familiar with a leaner scenario than we are with excess.

Several years ago, I checked into the Peninsula Hotel in Chicago. I asked the concierge if it was possible to borrow some music CDs. Over the years, I’d grown accustomed to listening to music supplied by other hotels in the Peninsula group. It’s a service they offer to all their regulars. As the hotel was new, the clerk politely informed me that this particular Peninsula had no CD library. Oh, well, so it goes. Yet minutes later, the concierge called to ask me what my favorite music was. Eminem, ABBA, and the Beatles, I replied. I was curious about this, but it slipped my mind as I continued working.

About 20 minutes later, I heard a knock on my door. When I opened it, the concierge handed over a small bag containing three CDs. You guessed it: Eminem, ABBA, and the Beatles. “This is a personal present from us to you,” the concierge said. “Welcome to the Peninsula.”

Now’s let’s pause here for a second. I’ve related this anecdote to hundreds of thousands of people attending my conferences–and to millions who have watched my TV appearances. My guesstimate would be that some 15 million people have heard this story. The cost to the Peninsula? About $22.50.

Needless to say, the Peninsula experience is far from common. However, every time I hear consumers raving about a brand, almost without exception it’s been the result of the brand over-delivering. In a world where promises are routinely ambiguous or broken, when we encounter such service we find it, quite literally, remarkable. Small acts of generosity imbue us with that rare feeling of being cared for or considered by a company. Perhaps, when it comes down to it, we’re still kids falling under the spell of surprise. If it’s better than what we expected–or hoped for–we remember it above all else.

Who knows? Maybe the brand manager responsible for your favorite brand will not only read this article, but will act on it. Don’t get your hopes up–catering to you may cost a few dollars more than what has been budgeted. After all, few people are willing to step outside the plate and eat into the budget that’s already been set aside for things like consultants or social media ads.

Jamie Goode’s Top 30 Sparkling Wines

bubblesonwine — Tue, 10 Jan 2012 18:27:36 +0000

http://www.wineanorak.com/jamiegoode_top30sparklingwines.pdf

Cap Classique gets classic

bubblesonwine — Fri, 06 Jan 2012 08:34:25 +0000

Written by Sarah Cangley

The French have been embellishing their champagne bottles and boxes for centuries, and each house has its signature look which is part of the “DNA” of that brand. Their wines, too, focus on the appearance of the bottle; the great Bordeaux have used renowned artists to design their labels for many years.

I have always loved collecting champagne bottle, boxes and various components which make up the champagne experience. It is both sentimental and decorative.

To me this celebrates the experience of drinking that particular bottle, but I also love the beauty of the design and packaging.

The more I collect, the more I learn and the more pleasurable the whole experience is.

Turns out this passion for design is not just confined to the French market.

This trend has reached South Africa and the outer appearance of Methode Cap Classiques is reflecting the improvement in South African bubbly quality.

At the recent Joburg Bubbly Festival I was struck by how design-conscious Cap Classique brands have become, whereas South African wine, on the whole, still tends towards very conservative labels and bottles.

I also found out that the festival was just the tip of the iceberg, as many wine estates are now including a Cap Classique in their range.

One of the MCCs at the event was Genevieve, with its distinctive, feminine cameo design and blue bottle (which I was told was inspired by a Tiffany box!). The owner, Melissa Nelsen, told me that her choice of the cameo was because the history of champagne has always included women.

“Our idea was to represent women all over the world and the love of bubbly they enjoy together,” she told me.

Melissa used black, gold and turqoise in her packaging to make a bold statement.

“Although this is rather a feminine product I wanted a man to have no awkwardness about carrying it. So the bold statement I thought would work well.”

She called it Genevieve because her parents spent a brief time in France and had an extraordinary love for the radiance and energy of France.

They gave her her middle name Genevieve, who is the patron saint of Paris.

Melissa’s designer was Adam Shear, owner of Deep Design and a personal friend of hers, who, she says, “took on the project with as much passion for it as I have.”

Steenberg also had a wonderfully funky striped box for its Cap Classique wines, designed by Jan van Tonder.

Jan had been busy and had also designed the bottles and boxes for Silverthorn Wines, which has a rosé, Genie and a Blanc de Blanc, The Green Man, in its stable.

I was referred to other major players in the MCC industry by Shaun Anderson of Javelin, who has organised some wonderful Cap Classique festivals in Joburg.

One of them was Melanie van der Merwe from the aptly named Tanzanite who is in the throes of redesigning her product for the next vintage in 2012. She is thinking of embossing some of her bottles and bringing out different coloured capsules (that’s the foil on the top).

“We are thinking about using an onion-skin colour on the capsule, as this is a very elegant wine, and black is too harsh,” she says.

She did change the neck label on the previous batch to a black and tanzanite-colour, but that is used only for vintage and special cuvées in a special box.

“You need to take more time, as this is a sophisticated product and it all depends on the bottle. These wines are so expensive to buy, so producers tend to make a classic ’608′ bottle, which is the classic champagne shape.”

She wants to make her labels narrow at the bottom and wide at the top, which is a departure from the normal square or rectangular champagne label shape.

“You can’t change the packaging totally,” she says, “as this is part of a known brand. It is expensive to do so, as it depends on what the bottle sells for. If it is around R70-R80, or made in very small quantities, it is not profitable. Only if the wines are sold at a rate of between 10 000 to 20 000 bottles annually, and unfortunately most MCC producers are small.”

Eddie Haumann of Haumann Small Designs is designing for a lot of wineries. He has designed most of Mary and Nicky’s Krone’s sparkling wines (including the prestige Nicolas Krone), and has done all the Graham Beck MCCs, as well as work for Laibach’s organic Ladybird wines. “A lot of wineries like Cedarberg and Saronsberg are bringing out bubblies,” he tells me. “It’s such a growing market so traditional houses are doing MCCs.”

A small bubbly estate in Franschhoek, GM & Ahrens, approached him to design their product, which was launched very recently into the market with a small amount of product.

To Eddie, bubblies need a classical look, as they have different values from wine and there is more romance and celebration.

If you consider French champagnes there is also different packaging for non-vintage, vintage and prestige cuvées, so Eddie used a high-end look for GM & Ahrens with limited colour.

“I am taking the classical endorsement and deconstructing it, then re-presenting it with a classical feel.”

Of course, rosés have to have special attention paid. The colouring of the label changes, tending more towards pink, and Eddie refers to the famous Billecart-Salmon rosés.

It is promising news for the MCC industry which is producing sophisticated, structured bubblies (such as the wonderful Morena from Franschhoek), and happily the packaging is beginning to complement and hint at the complexity and elegance inside the bottle.

Time to start collecting South African bubblies!

South African Wine | wine news | English Sparkling Wine set for mainstream, according to new report

bubblesonwine — Fri, 06 Jan 2012 07:22:34 +0000

South African Wine | wine news | English Sparkling Wine set for mainstream, according to new report.