Wojciech Bońkowski
Master of Wine

René Muré Riesling Clos Saint-Landelin 1999

A true grand cru

As an occasion is followed by another, I opened a big gun from the cellar today. A Riesling from Alsace. I reported on some problems with Alsatian wines here and here, but this bottle was simply outstanding.

René Muré is, in any ranking, playing in the premier league of the region. The winery owes its success largely to the Clos Saint-Landelin, a monopole parcel within the grand cru of Vorbourg. With its sun-absorbing sandstone this vineyard belongs to Alsace’s hottest, and consistently produces very powerful wines with record ripeness (lots of VT and SGN level wines, and regular botrytis) but also a strong mineral imprint. For power and concentration of flavour, they are sometimes reminiscent of the Rangen de Thann vineyard (whose terroir, however, couldn’t be more different: volcanic basalt). In the past, I’ve especially enjoyed the dry Rieslings and sweeter styles of Gewurztraminer from here.

This lone bottle of Riesling Clos Saint-Landelin 1999 was purchased for a miserable 15€ on sale in a wine shop in Verona (of all places). I now regret having wasted luggage space for some silly Amarones and not having bought more of this (the current vintage is 23€ ex-cellars). It is really a spectacular wine. Enormously rich. An impressive fully mature deep yellow colour. Nose shows a high amount of botrytis (this varies from year to year; the 2002 Riesling had close to none) in an explosive raisiny, spicy bouquet that also shows quite some peppery, stony minerality and freshness for balance. Palate is massive and impressive, broad and powerful on attack, so mineral that it initially feels dry, although there is quite a bit of residual sugar. A fairly weighty, structured, solar, oily, terroir-driven, peppery, botrytis-spiced whole. Acidity is also rather present, adding to the fairly virtuosic balance of this wine. No denying the high alcohol but this is really a substantial wine, and it carries it with grace. While this quintessentially Alsatian full-blown style might be challenging to the uninitiated, this is really Riesling – and wine tout court – at its best.

Austrian trade tasting

My top picks from the annual Austrian trade tasting in Warsaw, including some delicious whites from the lesser-known Wagram region.

André Kientzler Riesling Osterberg 2007

Another tricky Alsatian
Today was the last day of the five-day tasting marathon I blogged on the other day. Bad lack throughout. The Menetou-Salon from Henry Pellé I much looked forward to was awfully corked. And the Giuseppe Rinaldi Barolo Brunate–Le Coste 2004 was oxidative and underwhelming.

And we had another controversial Alsatian. I have never liked the wines of André Kientzler as much as some of my colleague tasters, but there is no denying this is currently one of the top domaines for dry Riesling. So expectations for their Grand Cru Osterberg Riesling 2007 were justifiably high. It’s an obviously good wine, but difficult to really enjoy. It has a pretty odd mixture of late harvest aromatic notes (raisins, peaches and honey) with a searing acidity that somehow doesn’t taste fresh at all. Alcohol is high (14%), which only adds to the searing impression. In my experience, a Riesling needs to have really superior concentration and body to sustain 14% alc. This wine, oddly, seems a little thin in texture, although it is built around a solid mineral core.

Osterberg is a vineyard with a quintessentially Alsatian mixture of soil: sandstone, limestone, gravel and even some marl. Sandstone usually yields wines that are very high in acidity, and rather quiet in their youth. Surely this shows in this Kientzler 2007. I kept the bottle open for three days and retasted it several times. Hardly any change, and hardly much pleasurability: this is intellectual, ungiving, mildly off-putting wine. It only shone when served with a dish of braised young cabbage.

Beethovenian wine

What wines did Beethoven enjoy?

Karl Lagler Steinborz Riesling 2002

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.