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Provignage at Domaine de la Bergerie

I’ve written about the old practice of provignage – gardeners may know it better as ‘tip-layering’ – before (it’s hard not to with wines such as Provignage, from Henry Marionnet). Well, in truth, there is more to provignage than there is to tip-layering, with many variations on the theme. The technique in Burgundy, for instance, often involved excavating soil and then burying the entire vine with only the growth tips showing, a little more drastic than merely layering a shoot. But the basic principles behind these techniques are the same. When used as a straightforward method of propagation, the new vine is generated by securing the growing tip of a pre-existing vine beneath the surface of the soil. The tip will form roots, and once established the newly-rooted plant can be separated from its genetically identical parent with a swift cut of the knife. The result is one healthy (provided the parent was healthy, of course) young vine, on its own roots. These days, however, because vines on their own roots are vulnerable to attack by phylloxera, propagation using this technique is rare. Nevertheless it was once very common, and it was a good method by which a peasant vigneron could expand his vineyard and thus enhance his income.

This week and next I am reporting on a series of tastings at La Table de la Bergerie, featuring not only the wines of Yves Guégniard but also Claude Papin and Vincent Ogereau. But before the tasting began we took a walk among one of Yves’ older vineyards, next to his house and cellars. I found what I saw there to be fascinating; first, some of the vines there had been propagated by provignage, and were thereby planted on their own roots, and yet – looking at the thickness of the vines themselves – they had seemingly been thriving for many decades. That in itself seems unusual, in a region where ungrafted vines (such as those planted by Pithon-Paillé on the Coteau des Treilles) quickly succumb. But, in addition, these provins (as they are known) were still attached to their parent plant by the original shoot, now thickened with age. I had naively thought this would be severed once the plant had rooted.

I had time to shoot a quick video of the vines in question. It is less than half a minute long, so don’t blink:

I found myself with two questions. First, why not sever the provin from the parent? Second, could the apparent phylloxera resistance of the provins, and this lifelong connection between parent and offspring, be in any way related?

Dealing with the first of these two questions requires a little knowledge of history, and how viticulture today differs from what was carried out in the past. The concept of a vineyard full of distinct, individual, neatly arranged plants is a modern necessity, brought about by (a) increased use of horses and then vehicles in the vineyards through the 19th and 20th centuries, requiring planting in neat rows, and (b) the need for vines to be each planted on their own phylloxera-resistant roots. Prior to these two major changes vineyards were not collections of many individual plants, but a heterogenous, amorphous mix of vines and roots, interconnected and densely planted (a side effect of provignage – the shoots only reach so far from the parent vine, so vines were propagated close to one another). New vines were established by layering the pre-existing vines in one direction. As such vineyards tended to ‘migrate’ along the ground, eventually new vines would have to be taken to the now barren end of the vineyard to replant there.

ProvignageThere are a few such vineyards still in exstence today, of which perhaps the most famous belong to Bollinger, and are the source of the Vieilles Vignes Françaises cuvée. One of these is the Chaudes Terres vineyard, behind the Bollinger headquarters in Aÿ (shown right). The pictured vines are not individual plants but stem from a network of underground roots; the soil (as can be seen in the picture) is sandy, and this has deterred the phylloxera from attacking. As the old-timers noted, the vineyard ‘migrates’ (in this case, up the slope) and every few years fresh vines are planted at the bottom to maintain production. It sounds ridiculous, but this system – with the vineyard planted en foule, a mix of tightly-packed, randomly-positioned vines – was once the norm.

So, with memories of an era when vineyards were very different to how we see them today, it is of no surprise that the provins were left attached. What benefit would there be, after all, to their separation? The whole vineyard used to be like this, why worry about a handful of vines? The vigneron of fifty years ago would have regarded it as unnecessary work. Or perhaps they knew better to separate the vines? Perhaps they saw that provins separated from their parents did not thrive so well? I’m hypothesising wildly here, by the way.

And this brings us to my second question; how have such vines survived in a phylloxera-infested environment? Is it just chance? That seems unlikely. Or is it that, despite having their own phylloxera-susceptible roots, they receive sufficient nourishment from the parent plants (which were grafted vines), in order to remain healthy? Unfortunately, a trawl through what is written on provignage did not yield many clues; the literature does not seem extensive, especially literature concerning provignage in the post-phylloxera era. I don’t have an answer to this question, but here are a few interesting points I picked up along the way.

In his Treatise on the Vine (T. & J. Swords. and other publishers, 1830), William Robert Prince wrote the following of provignage: “…in vineyards where this course is practised, new vines are not required, for there, as is the case in Burgundy, the provins not being separated from the parent vines, the plants can be preserved for centuries, which is favourable to the quality of the wine“. Prince was an American, concerned mainly with phylloxera-resistant American vines, and he was writing before the disease had swept across Europe (before the disease was even known of, or understood), so naturally he makes no mention of phylloxera resistance of the ungrafted vines. Nevertheless he seems to have noted some qualitative advantages of leaving the provin attached, implying that the attached vines are certainly different to those that are separated. Healthier? More disease resistant? Prince doesn’t say.

More recent (and we would have hoped more relevant) references to provignage do not provide any clues; describing the process in Viticulture: An Introduction to Commercial Grape Growing for Wine Production (Lulu, 2007), Stephen Skelton writes of the provin, “[t]his shoot can then be trained up a support and in due course the new vine can be separated from its neighbour and – voila – the empty space has been filled“. There is no suggestion anywhere that the vines may be left connected, or that this may aid the battle against phylloxera. And I could find no mention elsewhere of whether provignage from grafted vines might be different to provignage from ungrafted vines in terms of how the vines cope with phylloxera.

There were a few other interesting references to provignage I uncovered, from James Busby (also writing in the 1830s, pre-phylloxera again), but not much else new. So ultimately my question remains unanswered. I would be delighted if readers can come up with any thoughts or hypotheses on whether ungrafted vines connected to a grafted vine might survive in a vineyards where phylloxera is endemic, or if you know of any other writings on the subject I should check out.

More from Herdade do Rocim

I featured one wine from Herdade do Rocim as my wine of the week yesterday, this being the Vale da Mata Reserva 2008. Although that wine was undoubtedly my favourite from all the Herdade do Rocim and Vale da Mata samples I have tasted recently, the others are certainly worthy of a mention.

First, a little background on Herdade do Rocim; if you take the Rocim literature at face value the driving force behind the estate seems to be Caterina Vieira, and this impressive project was all inspired by her grandfather, a onetime vigneron who relinquished his vines many years ago. While Caterina studied winemaking, an impressive and no doubt expensive winery of very modern design sprang up in Alentejo. With my more sceptical hat on, what we see at Herdade do Rocim today – including not only the ultra-modern winery but also the meeting rooms, restaurant, shop and wine bar (they’re just missing the health spa I think) – is the result of massive investment from owners Terralis Lda, an agricultural machinery specialist that purchased the estate in 2000.

Most of the wines are from Alentejo, although there are also vines to the west in Lisboa, where (back now to the dreamy literature, infused with black-and-white images of vines and handsome young pickers, oak barrels and wizened old vignerons – so much nice than pictures of tractors and muck-spreaders) her grandfather once made wine. The varieties featured include locals such as Antão Vaz, Aragonez, Trincadeira and the better-known Touriga Nacional as well as the rather more international Syrah.

The labelling, I have to say, I find a little confusing, but here’s my take on it. The Rocim range (in white and red) appears to give us the entry-level wines, described as ‘youthful and fruity’. There is also a straight Herdade do Rocim bottling (in red). Then there are the Olho de Mocho wines (red, white, rosé), which seem to be made from selected parcels each vintage, and so should be a step up from the Rocim/Herdade do Rocim wines. Finally, top of the tree is the Grande Rocim, the flagship wine which features Alicante Bouschet. The aforementioned Vale da Mata wines are a separate line, made from fruit grown in Lisboa to the west.

First up, two white wines.

Herdade do Rocim ‘Rocim’ Branco (Alentejano) 2010: A blend of Antão Vaz, Arinto and Roupeira. Fresh, lean, lightly chalky fruit character on the nose, with a touch of citrus zest. Also a little white-peach stone. Light, with slightly pithy fruit in the middle of the wine, showing decent freshenss, nice acidity, and appropriate substance. Clean, lightly steely fruit. Gently attractive. Alcohol 13%. 14/20 (May 2012)

Herdade do Rocim Olho de Mocho Branco Reserva (Alentejano) 2010: This is 100% Antão Vaz. A pale straw coloured hue with a faint hint of green. The nose is dominated by oaky characteristics, as evinced by notes of fennel, with citrus fruit tones underneath. An attractive palate if you are oak tolerant, because the flavours certainly speak of the wood to a large extent, as do the light grip of oaky tannins in the finish. Bright structure underneath, with freshness and nutty tones. Nice acidity, with a bitter, pithy edge to the fruit. Long, grippy, slightly sour finish. 14.5/20 (May 2012) Alcohol 13%

One rosé wine.

Herdade do Rocim Olho de Mocho Rosé (Alentejano) 2010: A blend of Touriga Nacional, Syrah and Aragonez, this wine has the deep, richly coloured pink hue that many Iberian and southern European rosés seem to possess. The fruit character on the nose is simple, with plump strawberries to the fore. The palate has the same character, rather solid, with a foursquare style and bold flavour. For uncomplicated drinking. Alcohol 13.5%. 13.5/20 (May 2012)

And finally a selection of Herdade do Rocim reds.

Herdade do Rocim ‘Rocim’ Tinto (Alentejano) 2008: This is a blend of Aragonez, Trincadeira, Alicante Bouschet and Touriga Nacional. It has a bright cherry red, with a pale intensity and a pink rim. Soft and rather reserved, slightly dusty fruit character on the nose, with a touch of violet perfume. The palate has more expressive fruit thought, the restrained texture sitting behind some baked raspberry fruit cut through with overt notes of black liquorice. There are elements of smoke to it, but is that dark, liquorice vein that really dominates here, along with little related nuances of coffee bean. Some very soft grip to it, but attractive acidity, but the overall feel is of a soft, easy-going wine. Those aromatics are certainly interesting though. Alcohol 14%. 14/20 (May 2012)

Herdade do Rocim Tinto (Alentejano) 2009: This is Syrah, Touriga Nacional, Aragonez, Trincadeira and Alicante Bouschet. Just a little more vibrant than the 2008 Rocim, but a similar cherry-red hue. Again very reserved on the nose, with a chalky suggestion to the fruit, a lightly floral character too, but otherwise not really very expressive. A very soft and fruit-rich start to the palate, with light pepper through the midpalate. A fairly soft, plump but certainly well filled-out texture here, with a little seam of soft tannins which remain very low key, and perhaps a slightly gentle acid profile. An attractive wine, a sweeter, richer fruit profile than the 2008 Rocim too. More supple and full, with some grip. Alcohol 14%. 14.5/20 (May 2012)

Herdade do Rocim Olho de Mocho Tinto Reserva (Alentejano) 2009: Three varieties here, Syrah, Touriga Nacional and Alicante Bouschet. Deeply coloured, with a bright hue at the rim but a dark core. Aromatically this is showing a lot of oak lactones on the nose at present, and lots of peripheral oak related notes, with coconut and caramelised sugars too. The fruit certainly takes a back seat at present. A really attractive texture here from the outset, and this is maintaining a very broad and flattering character though the middle of the wine. Thankfully the oak flavours come through less on the palate, although there is certainly an oaky grip coming in at the end. Nice sweet fruit to it here as well though, and I suspect this will come through more in time. Attractive wine, certainly modern and polished in style, but one that needs to spend a couple of years in the cellar for everything to come together here I think. Alcohol 14%. 15.5/20 (May 2012)

Vale da Mata Tinto (Lisboa) 2008: A blend of Aragonez, Syrah and Touriga Nacional. A fairly dusty red core here, with even a faint tinge of oxblood to it. The fruit character on the nose is certainly less expressive than the Reserva (see my note on the Vale da Mata Reserva 2008), although there are bright floral tinges apparent at times, as well as more gamey and autumnal notes, plus tinges of mint and tobacco. A moderate texture immediately apparent, runing into a slightly leaner and drier palate that expected, with some robust structure underneath it. A rather firmer underpinning than I expected considering the substance of the wine I think. And in the finish, little tinges of caramelised fruit, giving a lightly toffee-like edge to it all. Reflecting the climate, or the toast on the oak, I wonder? Alcohol 14%. 15/20 (May 2012)

My Bordeaux Pocket Book

After learning that I had been shortlisted for a Born Digital Wine Award, yesterday turned into a good-news double-whammy with a knock on the door, and the long-awaited arrival of my book (well, OK, it’s actually only been two weeks since it went to print, but it felt like a long time). I’ve been working on this project for months and months, and it was amazing to finally hold a copy in my hands. And, although I am more than a little bit biased, I am over the moon with the finish on the final product.

A little bit more detail for you; it’s a magbook, so a sort of magazine-book hybrid. But with its A5 size and firm, card-like cover it feels more like a pocket book than a magazine to me. Inside is a mix of news, profiles, guidance and vintage reports, with hopefully something for everybody; a generic vintage guide for Bordeaux beginners, more detail on a selection of interesting châteaux for those more familiar with the region, and reports on the latest vintage and all the latest news for those who know the region well and just want to get to grips with what’s new.

And when I write latest news, I mean latest. I’m particularly pleased with the ‘current’ feel of the product. Most wine guides are already out of date by the time they hit the shelves, the copy for the book often having been submitted a year before you hand over your cash. Here, the short time between finishing the copy and holding the book in my hand (as noted above, a couple of weeks) means the news within is definitely not dated. I include a report on the 2011 Bordeaux vintage (added after my return from the Bordeaux primeurs in April) as well as other Bordeaux news from the past couple of months (as well as important snippets from 2011 of course).

I haven’t held back from expressing this in the introduction – nor from criticising some other elements of the annually published pocket wine guides!

What should also appeal is the asking price. I was tempted to countdown the figures here (must be the latent market trader within me) but maybe I’ll just come straight out with it: £6.99. Not a typo: £6.99. It will be available in hard copy in the UK with some copies going out to the Far East, the USA and a few to Australia. A major point of sale will be airport shops (WH Smith and the like), but happily in this modern era it should also be available through online retailers such as Amazon (it’s not listed yet though, to save you the time checking) and of course there will be electronic formats for Kindle in Amazon, and it should be available as an iBook.

Now I just need to read what the book-reviewing wine-writing community think of the product. Nervous, me? Absolutely.

Update: From myy publisher’s comments below, the book is available online now from Zinio, and will on the shelves and with Amazon from May 24th. Kindle and iBook versions to follow!

Domaine du Caillou, 2010 Vintage

Two wines here from Domaine du Caillou, a leading domaine in the Châteauneuf du Pape appellation. Both are from the 2010 vintage and were bottled very recently, in March 2012.

In terms of style these are definitely for fans of concentration, substance and texture. I find them rather on the warm and voluptuous side for my palate, but they are technically very good wines for sure. I have included prices for cases, in bond, from stockist Bancroft Wines.

The first comes from vines within the Clos du Caillou, but outside the Châteauneuf du Pape appellation as it was laid down in 1936. The fruit is fermented in wooden vats with a 30-day maceration, and délestage (emptying and refilling the vats, a very forceful method of ensuring the cap is mixed with the fermenting wine, enhancing extraction) as well as pigeage.The wine was bottled in March 2012, after 16 months in oak (different vessels for the two varieties featured).

Clos du Caillou Côtes du Rhône Les Quartz 2010: A blend of 85% Grenache and 15% Mourvèdre, picked at 20 hl/ha. A rich and vibrant hue here. Big sweet cherry-liqueur characteristics on the nose, with a layer of rich tones laid over the top, scents of chocolate and smoke surely reflecting some time in oak. There is a garriquey edge to the fruit, but no shortage of solid impact aromatically. There is very voluptuous texture on the start of the palate, and although it is not immediately apparent on second and subsequent tastes there is an undeniable warmth to it here as well. This comes close to dominating the palate with time, but thankfully there is a good cushion of cherry fruit to provide some counterbalance, and there is still some pepper and spice character in the end. Some grip and acid here, but they play second fiddle at best, in what is undoubtedly a ‘hedonistic’ style. Alcohol 14.5%. 14/20 (May 2012) (£135 per case, in bond)

Next up, the Châteauneuf du Pape, handled in much the same way as the Côtes du Rhône, although here 17 months was spent in older wood, 7-11 years old for the Grenache, 2-3 years for the Syrah.

Domaine du Caillou Châteauneuf du Pape Les Quartz 2010: Also a blend of 85% Grenache and 15% Mourvèdre, yield 25 hl/ha, this has a less rich hue than the Côtes du Rhône, less dense, but still showing some vibrant youth. There is a more restrained fruit character here too, albeit overlaid with a very slight hint of toffee, and again a slightly wispy nose that suggests warmth. It tends to suggest the fruit was very ripe and sugar-rich at the time of harvest. This does not show as overtly on the palate as it does in the Côtes du Rhône, but it is undeniably there, although there is also a little more balance and harmony here, more cushion for the structual elemants as well as the alcohol. Definitely more savoury, less primary, but with no let up on power and substance on the palate, backed up by pepper, tannin and spice. From a technical point of view, a very good wine. Alcohol 14.5%. 15/20 (May 2012) (£395 per case, in bond)

Born Digital Wine Awards 2012 Shortlist

No prizes for guessing why I’m posting on this today. The sad rule about competition shortlists is that – aside from a few notables – most people who aren’t shortlisted suddenly lose interest!

I’m delighted to note that I’ve been shortlisted in the Best Investigative Wine Story category of the Born Digital Wine Awards, for this piece: Pressure Sensitive.

Looking across the category I’m also delighted to see that Jim Budd has been shortlisted for his Campogate, no Pay no Jay story. Quite right too. This (a joint effort between Jim and Harold Heckle) is proper investigative wine writing, part of a long exposé which has seen him belittled and inappropriately criticised by Robert Parker, as well as threatened with legal action by the subject of the cash-for-review scandal, Pancho Campo. And the ultimate outcome clearly indicates that Budd was on the right track all along; Jay Miller resigned (apparently agreed before the scandal broke, but – reading his posts on the Parker bulletin board yesterday – he clearly associates his departure with the scandal) and Campo left the wine world, resigning his MW, which has the effect of preventing the IMW report becoming public.

I hope Jim wins the category. He deserves it.

The full list is as follows:

Best Editorial Wine Writing

Best Investigative Wine Story

Best Wine Tourism Feature

Best Winery Self Produced Content

Best Wine Themed Video

There is also a photo-essay category, details (and images) on the Born Digital site.