Wojciech Bońkowski
Master of Wine

Karl Lagler Steinborz Riesling 2002

Posted on 7 January 2009

Revisiting an old favourite

Early in my tasting career I loved the wines of Karl Lagler, thinking (and even writing: here are some tasting notes from a forgotten age) he was one of the top producers in the Austrian region of Wachau. I was particularly keen on his Smaragd wines – both Grüner Veltliner and Riesling – from the Steinborz vineyard in Spitz. I remember stocking up heavily on the 1997s and 1998s, and enjoying them tremendously for over a half-decade.

The Steinborz vineyard photographed from the town of Spitz in June 2008. © S.

Then I as sampled more regularly through the ranges of Knoll, F.X. Pichler, Prager or Alzinger, I began to put Lagler’s output in context. I still think he is much underrated (Peter Moser’s latest 2008/2009 Ultimate Austrian Wine Guide omits him altogether), but somehow I have never found the emotion of my early tastings in his latest vintages. (As a side note, 2003 and 2006 have been particularly tricky here, producing overtly alcoholic wines without the mineral drive Wachau can deliver – but this has been a problem of the entire region).

Today, I opened a bottle that confirmed my thoughts about Lagler. The 2002 Steinborz Riesling Smaragd shows a dark plate gold of mature Riesling, and the nose is a bit advanced too: there is a whiff of Firne agedness, with notes of wax, honey, mushrooms (but not petrol). But the evolution is balanced by excellent minerality: first saline, later increasingly stony. Medium complexity: this doesn’t seem to have a lot of aromatic stuffing, but shows noble and terroir-driven. Palate is rather full, with little sugar, firm acidity and a firm minerality throughout, and quite some power on the finish: seemingly this could still age; it drinks very well an evening later and a day later, showing more sweet, less crisp. But I am happy to have opened it today when it is near its highest point.

While surely not disappointing for 20€, this excellent wine misses the train to greatness. Why? My answer would be: simplicity. We are not at the level of complexity of a Wachstum Bodenstein, nor the compelling texture of Pichler’s Kellerberg. It is rather a sonata than a symphony; rather a duo than a quartet. As every music lover will confirm, a good duo is perfectly fine six days a week.

From a wall in Spitz. © S.