[wine] Tuscan Wines at Tratoria Da Vinci

Wow, it's been a year since we've been to TdV ----- Forwarded message from "Jim L. Ellingson" <jellings(a)me.umn.edu> ----- Date: Wed, 6 Apr 2005 13:19:13 -0500 From: "Jim L. Ellingson" <jellings(a)me.umn.edu> To: wine(a)thebarn.com User-Agent: Mutt/1.5.4i Trattoria da Vinci 400 Sibley St., St. P, 55101 222-4050 It's in the "far end" of down town St. Paul, near the Farmer's Market. If you're traveling on I94, take the 7th St. Exit. Who? Annette Bob Lori Bill Janet Warren/Ruth Russ/Sue Jim/Louise Dave? Nicolai? Karin? Other things. Would be good to re-expand our Italian options. Perhaps January/February would be a good time to get into the place at Raymond and University in St. Paul (Biagio?) Raskells Plug Nickel Sale starts on 4/5/06. Cheers, Jim ----- End forwarded message ----- AN INTRODUCTION TO THE WINES OF TUSCANY Chianti may well be synonomous with Tuscany, but there is far more diversity here than a visit to your average wine merchant would suggest. Recent years have witnessed considerable changes, with most articles on Tuscan wine commenting upon the shift of emphasis from quantity to quality, Above all, Tuscany produces red wine and, above all, this wine is made from the Sangiovese grape. The practice of adding white grapes to the Chianti blend has, thankfully, all but disappeared; the last twenty or so years has seen Sangiovese find a new partner - Cabernet Sauvignon - and when this marriage works, as it often does, the resultant wines are usually excellent and, occasionally, truly great. Brunello di Montalcino manages ably to retain the crown of `Italy's most expensive wine', although the likes of Tignanello and Sassicaia are not too far behind. Some other areas worthy of investigation are Morellino di Scansano, Vino Nobile di Montepulciano, Rosso di Montepulciano, and wines of Lucca & Montecarlo. The white wines of Tuscany are far less important than the reds. Produced predominantly from the workaday Trebbiano grape, a notable exception is Vernaccia di San Gimignano. Good Sauvignon and Chardonnay is made, but the prices tend to be quite high. Vin Santo, the famous after-dinner wine, is also seeing a renewed commitment to quality. AN INTRODUCTION TO THE WINES OF CHIANTI Chianti is without a doubt the most well known of all Italian wines. There may be only one denomination - Chianti D.O.C.G - but there are many different styles, ranging from light Beaujolais-style quaffing wines to structured, complex wines with enough backbone to reward aging and maturing. The predominant grape variety is Sangiovese, but the laws allow for an addition of between 10 and 15% of Cabernet Sauvignon, Merlot and Syrah. A Riserva wine is one that has been aged longer before being released; it should come from a good year and benefit from further aging, although it is not always the guarantee of quality that might reasonably be expected. Click here for a brief history of the wines of Chianti over the centuries. The vineyards of Chianti are scattered over much of central Tuscany; the Classico zone begins northwards of Siena and reaches most of the way to Florence. This zone generally produces the best wine. The other six zones are: Colli Aretini The hills around Arezzo produce a medium-bodied Chianti, soft and best drunk young. Colli Senesi From the hills to the south and west of Siena, this is the largest Chianti sub-zone. Chianti plays second fiddle to Brunello and Montepulciano. Colli Fiorentini All styles of Chianti, from light everyday stuff to some excellent Riservas. Montalbano From the hills west of Florence. The better grapes tend to go to make Carmignano. Rufina The smallest of the seven, this zone, to the north east of Florence, produces some of the most complex and long-lived wines in Chianti. Colline Pisane Pleasant, light wines from the hills around Pisa There are various theories as to the origin of the name Chianti. The most popular has it that the word derives from the Latin clangor, meaning the cry of a bird or a high pitched note from a trumpet, and that this alludes to the wild and uncultivated countryside of the area, fit for hunting rather than agriculture. Another far more mundane theory ascribes the name to an Etruscan family of the area, or perhaps a winegrower from the hills above Florence. What is more certain is that the name was well established by the early fifteenth century, although the wine known as Chianti in those days was almost certainly a white wine. As late as the 1960's there was still a Chianti bianco and even the DOC laws of 1967 allowed for 30% of white grapes in the red wine. By the early 1900's the wines of Chianti had become very popular - or at least the 'style' had, as a bottle labelled as Chianti may not have come from Chianti proper, if indeed it came from Tuscany at all. The year 1924 saw the formation of the Consorzio per la difesa del vino tipico del Chianti, a group taking as its symbol the black cockerel, the Gallo Nero still seen on all bottles today. The significance of this dates to a border dispute between Siena and Florence, a dispute that saw the border drawn at the point where a horseman from each city would meet on the road. They were both to set out at the cock-crow, as indeed they did, except that the Florentine cockerel had been starved, and woke to greet the day considerably earlier than its Sienese counterpart. The DOCG regulations of 1984 attempted to achieve what the DOC ones of 1967 failed to do in terms of quality and consistency, and there is no doubt that post DOCG Chianti is a much improved wine, however, many growers still found the rules too restrictive and archaic. This led to the rise of the so-called 'Super-Tuscans', wines made from the same grapes and the same vineyards as traditional Chianti, yet made in a way and using blends that 'flouted' regulations, and led them to be labelled as table-wines. This didn't bother the growers overmuch as these wines (then and now) command prices way beyond even the best Chianti Classico. Eventually, the regulations were altered to allow these wines back into the fold. Grape varieties that were outlawed are now permitted, and the requirement to effectively ruin a wine by forcing the inclusion of white grapes in the blend has lapsed. There is a re-assessment of Chianti under way; ever higher standards coupled with some wonderful vintages are allowing the very best wines to walk tall, and many recent tastings have commented on the wonderful ageing potential of top Chianti. The prestige that that the 'Super-Tuscans' afforded the Sangiovese grape is now allowing the focus to return to the making of good Chianti. A QUESTION OF STYLE Between tradition and renewal, the challenge for Tuscan wines is to exploit the distinctive marks of the territory. To .dare. with less international wines but always with bigger personalities. It is a difficult world, felicitous at times but with an uncertain future. Or so the lyrics of a song that was popular a few years ago would have it. The lyrics are even more appropriate today when applied to the situation of the Italian wine sector. I don.t wish to take this article as a pretext for wandering the byways of the current market and dispensing advice on marketing and prices. Not at this time when censors of bad habits are admonishing those who have erred and who threaten apocalyptic scenarios for the future of sales of Italian products. It.s a shame that many of these admirable prophets were peddling entirely different theories until only a short time. Let.s say instead, and more honestly, that nearly all the leaders in the world wine sector galloped through the period of rampant euphoria of the last decade. In reality, however, there was no lack of factors that attenuated such attitudes. We went in the blink of an eye from the sour, immature, prickly, diluted and often defective wines of the past to products that are softer, rounder and fruitier. Perhaps a touch too marked by oak but even that, for heaven.s sake, is an indicator of renewal and modernity. It says .enough. with all those old, gross and stinking casks. And, then, why waste time with such irksome and capricious varieties like Sangiovese when we have at our disposal grapes of immediately efficacy like Cabernet and Merlot? The response to that question was wines that automatically raised the level of consumer satisfaction and enthused even us critics. What a difference from the .antique. wines! What a pleasure! What concentration! This is the new Italian and Tuscan wine! This is the model to follow! This type of recipe has worked without any setbacks until now but the first doubts are beginning to appear. The few bottles of some years ago are progressively becoming many, new vineyards are being planted and new estates are appearing, while others are giving themselves a makeover. Large numbers of wines have adopted the winning model or even expanding its intensity: super soft, super fruity, super concentrated and super bois�. In a few words, all are apparently more endowed but at the same time similar to one another. Have we, therefore, reached a notorious state of uniformity? Not yet, fortunately, but the risk is obvious and it is not easy to avoid it and to resist the pressures of the international market. The motive is clear. If I prepare wines with the flavor I have cited, which is accepted without complications by the majority of consumers and critics, the chances are good that I shall be able to sell it. At first glance, nothing to object to but, if we look more closely we may come to other conclusions. In a world context consisting not of a million but a billion bottles, a territory like Chianti Classico, which appears so big to us, represents only a small speck, the so-called niche. And, in a niche, what sense is there in having the prospect of producing wines with an international flavor beaten in advance on the level of price? We must, therefore, make our wine distinctive. Premium wines must possess recognizable characters traceable to the zone of origin. That is what occurred at Bordeaux where, with a minimum of experience, the taster cannot mistake a Pauillac for a Margaux, and even more so in Burgundy where an abyss separates a Chambertin from a Volnay. And that.s not to mention the clear difference between a Barolo from Monforte or another from La Morra. In Chianti Classico.but let.s expand the horizon to the whole of Tuscany.the imprint on a wine.s style of the enologist currently on duty is more frequently cited than the influence of the zone of origin. Please note, this is not an accusation directed at our technicians, who, like the referees in soccer, are among the best in the world. It is aimed instead at a diabolical system that demands determined results in time spans that, for viticulture are unnaturally short. The signs of the territory, on the other hand, emerge only with the value of the vineyard and will be much more incisive when the vines are older and more deeply rooted. Inevitably, more time is required along with a vision of greater depth and farsightedness in order to obtain results and a definite style. In that sense, the privilege, although it is not exclusive, of native varieties that are more acclimatized to the territory is manifest. And then we can finally emerge from the opportunism and the provisional character of the gilded cage made with false gold. We can withdraw from the internationality trap and create wines with more authentic characters, wines that are sapid and mineral, with marked but still elegant contrasts. They are drinkable and never boring or predictable. There is the loss, perhaps, of a pinch of fruit and the softness may be too facile but they are wines in magical accord with our cooking and with flavors that are just as decisive and never cloying. Ernesto Gentili http://www.chianticlassico.com/english/magazine/200406/articolo0.asp -- ------------------------------ * * Dr. James Lee Ellingson, Adjunct Professor jellings(a)me.umn.edu * * University of Minnesota, tel: 651/645-0753 fax 651 XXX XXXX * * Great Lakes Brewing News, 1569 Laurel Ave., St. Paul, MN 55104 *