Dry River Wines 2017 brochure by Dry River Wines

EMOTIONAL SENSORY ALCHEMY EXPERIENCE CONNECTED MINDFUL 2017 D R W I N E S LT D , M A R T I N B O R O U G H W W W. D R Y R I V E R . C O . N Z

Contents Introduction....................................... 1 Tasting Notes..................................... 3

DR Wines Ltd PO Box 72, Martinborough 5741 New Zealand PHONE 06 306 9388

Reviews ............................................. 6

www.dryriver.co.nz

Musings ............................................ 8

ENQUIRIES: sue@dryriver.co.nz

Dry River Profiles ............................ 14

SALES: sarah@dryriver.co.nz

Cellaring Guide ............................... 16

WINEMAKING: wilco@dryriver.co.nz

The effect of cellaring conditions on your wine................... 17

Acknowledgements:

Our Location .................................. 20

Photography - Mike Heydon

Design - Goodeye Limited

Can we relate to a Kingdom incomparable to our own, and accept it as our equal? To colonise and shape this to our own specifications, whilst defaming its innermost purpose seems to answer this question and has become a fundamental principle to modern day farming. For the natural and vegetative world magic, the sense of wonder and romance do not have a place here anymore. Or do they? Winegrowing regions around the world have become popular tourist destinations. The romantic appeal of the lifestyle with the surrounding areas of the village planted in neatly organised rows of vines sunbathing their grapes in a bounty of sunlight, all magnifies this veil. The chemistry created between this phenomenon and the observer gives rise to a sense of romance and wonder, since this is a place where a (super) natural force is at work. It is where the magic happens; the birthplace of a wine. But there is no sight of an old man with a tall hat and a long, grey beard. Merely a paddock, cultivated with plants, the elements at work and an audience; the winemaker. Then who is responsible for this magic? The previous statement implies that a certain power from a person is removed and passed on to another entity. When authority is granted to plants, or vines to determine their own outcome, it shows an absolute respect to this world. And if we look close enough, we can see the wizard operating, personified in each individual plant. Driving past the vineyards on a leisurely cruise, we can’t hear the plant’s pleasure or pain, nor see their movements. However, we can understand their hard labour, sweat and tears devoted to our pleasure, only if we are willing to see it. In my eyes, for many wine enthusiasts the experience of the magic and wonder lie in the revelation of “the Prestige”, the final part of a great magic trick after the ordinary is transformed into something extraordinary; the wine itself. Magic or science, a deep fascination and respect for the mechanisms and purpose of the biology within our vegetative kingdom, are the foundations of this brochure.

Wilco and the team at Dry River Wines

TASTING NOTES Writing a story is an arduous task, it requires careful planning and demands devotion. Whether to follow or break the rules, or to deviate from the path set out, the author is in control. Winegrowing is a script created with a co-author, in this case the Winemaker. It is a story which can last for many years to unfold and to unveil its many layers. With such a powerful partner, there is no control, merely rigid planning and anticipation can prepare one for the outcome of a year in the vineyard. So far, the 2016 wines show promising intricate texture with abundant varietal expression. Timing of budburst was in keeping with the long term average, where flowering and véraison occurred in a similar timely manner. After a mild spring with no noteworthy frost events, summer introduced itself with warm and calm weather. The lowest rainfall over the last 10 years was recorded for the growing season, with heat summation uniformly distributed and above the well praised 2013 vintage. Work in the vineyard was focussed on creating an optimal environment for fruit to express the benign conditions. Harvest commenced in March with Pinot noir, Chardonnay and Riesling were in quick succesion. The long Indian summer stretched harvest out, with Pinot gris, Gewurztraminer and Syrah picked early May, and our last component of Riesling on 30th May. 2015 DRY RIVER ‘MARTINBOROUGH’ PINOT NOIR For us at Dry River, blending of our Pinot noir is

the wine broad. They are matched with dense and

leaf, ground galangal, and other Indian spices like

concentrated fruit, mainly visible on the middle of

cardamom and caraway seed add further interest.

the palate. The retention of whole-berry clusters

Candle nuts and vanilla pod bring a grounding

a relatively straight forward event. We produce no

in the fermentation process is to bring ‘freshness’

effect and entice to finally start tasting! The wine

second tier label, all our barrels are destined for

of fruit to compliment the ripe plum, cassia bark

appears drier than previous releases, the residual

one wine: Dry River Martinborough Pinot noir.

and familiar Christmas spice flavours. To finish,

sugar is approximately 15 g/l, which might be

This certainly brings pressure to the winegrowing

the longevity of the palate is achieved with finely

thanks to the interplay with a fresh acidity and the

and - making, balanced with a good dose of

textured oak tannins in combination with a soft

drying effect of the mid palate phenolics. Together

excitement. Our anticipation culminates when the

and suppressed acidity that lies underneath, acting

with the oily nature, an even and wide perception,

wine is racked from barrel to tank and prepared for

as a lace to tie the wine together. We expect this

the wine is allowed to travel with little effort and

the final blend!

wine to evolve for five to seven years to reach

hindrance. The alcohol plays an important role by

Crimson red with a fluorescent purple rim,

optimal maturity.

as we often see in a young Dry River Pinot noir. The fragrant nose reveals cherry blossoms and violets, where blackcurrant and raspberry are indicative of the youthful character of the wine.

supplying buoyancy, length and unity. We expect this wine to improve over the next three to five

2016 DRY RIVER ‘MARTINBOROUGH’ PINOT GRIS

years with a further gain of interest when cellared for longer.

For us at Dry River Pinot gris is a variety we believe

Lightly spiced, with crushed dried leaves and

benefits from a late harvest. We strive to hang this

2016 DRY RIVER ‘LOVAT’ GEWÜRZTRAMINER

perhaps some lifted cardamom pod bring welcome

fruit deep into autumn in order to be rewarded

Gewürztraminer to me is a wine full of contrasts.

nuances to the aromatics. Chocolate hazelnut

with a wide array of aromas and an intricate

In the vineyard the variety is co-operative, thanks

praline compliments the ripe fruit and pays tribute

texture, without the need for winemaker artefact.

to its low demand and impeccable behaviour. It is

to the French oak maturation.

This season, Pinot gris, was about patience and

not until harvest time when the complex, multi-

The low yields and extended water stress in

the blessing of friendly weather. Eventually it was

facetted personality of this wine becomes visible;

mid-season allowed for high sunlight exposure

picked in three stages, the last in late April, with

wildly aromatic when it suits, bitter when not

with a low amount of leaf numbers. This retards

ample shrivel and concentration.

happy, with some age it captivates the harshest critic and sweet because we feel it needs it to bring

sugar accumulation and potential alcohol, where

It is initially a bit shy, which is to be expected

tannin formation and ripening are enhanced.

of a young wine, but progressively the complexities

Considered the low cropping level, contrary to

start to become evident. Kiwi fruit, rock melon

On the nose too, the divisions are visible;

expectation, the fruit versus tannin ratio is well

and white flesh stone-fruit are the obvious fruit

ripe, tropical, soft flesh fruits like persimmon,

balanced and without excess. Elegant, chalky

aromas. We gladly welcome the stewed rhubarb

papaya and rock melon are contrasted with orange

tannins are dispersed over the palate, stretching

character I often saw in our past Pinot gris. Bay

marmalade, cloves and ginger. With a small and

the wine together.

early picked portion fermented in barrel and

grapefruit skin. A juicy and mouth covering acidity

a stout and broad mouthfeel whilst it spreads

aged on lees, faint floral notes and hints of vanilla

spreads and pulls the palate, initially leaving little

consistently over the palate. This remarkable

are evident. The palate is strikingly consistent

room for the underlying aromatics to be apparent.

strength subdues the acidity creating an all-round

and complete, where the lack of focus becomes

The soft nature at the front of the palate and the

experience. The ripe fruit is visible mostly on

the focal point, perhaps testament to the four

austerity of the lemon and lime suggest a timid

the back palate in the sense of white peach and

separate passes at picking time. The soft, cushion

wine. After some time in the glass Granny Smith

nectarine complemented by nougat and almonds.

like entrance is followed by a bulky, luscious and

apple, orange rind and yellow plum skin balance

We recommend to open this wine well before

textural mid palate, finished with long fresh tail.

the rectangularity with weight and roundness in

consummation, allowing time to breathe, or be

Like the texture, the fruit travels similarly over the

the middle of the palate. A light chalk powdered

sure to decant in its youth. Our Chardonnay tends

palate through different spectra; peach and nashi

texture exposes the tannins and coats the mouth

to evolve for another three to five years, but can

pear at first followed by Crème Brûlée and ginger

with a misty and seductive finish. Maximum

be cellared longer for those with patience.

and finished with lemon marmalade. Though

benefit is rewarded to those who cellar for up to

appealing as a young wine, we recommend to

seven years or longer in good cellars.

restrain from opening this for another two years and for maximum gain of interest for another five to ten years.

Our approach to ‘building’ this wine through multiple picks came to a climax at the tail end of

To our memory this is one of the more approachable

the season. The last component was harvested on

2016 DRY RIVER ‘CRAIGHALL’ RIESLING

Chardonnay’s we have produced so far. The small

30th of May, fully shrivelled with a large percentage

The change in timing of the release of this wine

cropping levels we experienced did not necessarily

of Botrytis infection. This is not necessarily

to our autumn release has given us more insight

produce a more intense wine, on the contrary,

visible in the youthful stage of the wine, however,

in the development in its youthful stage. We see

maturity was slowed down due to weather

once further evolved it can bring spectacular and

this wine ‘growing up’ even within the six months

induced stress. These vintage circumstances

intense aromas.

extra time it spends with us.

formed softer tannins with a more ‘open’ and

Over time the closed aromatics, flavours

friendly phenolic structure.

The appearance is darker and golden. Thanks to the numerous picking stages, the aromatic

and structure slowly transform and open up to

A bright apple flesh colour reflects the early life

landscape is varied and abundant. Clover honey

reveal its nature. A burst of spring fruit flowers

stage of the wine. At first the creamy lees character

and rock melon are combined with, yes, raspberry,

of apple and citrus liven up the nose and are

supresses the aromatic profile of the wine and

lemon sherbet and rose petals. Juicy lime zest and

tempered by fresh ginger, kaffir lime and lemon

might be a reflection of time spent on full solids

pineapple give familiar ripe Riesling appearances

grass. Considering that the timing of picking

in barrel. With time in the glass the wine is sure

on the nose. A firm acidity is instantly recognised, encapsulating the concentrated fruit where it

was relatively early, end of March and beginning

to show tropical fruit characters like persimmon,

of April, the interest of these characteristic Asian

pineapple and nectarines. By now almonds and

partners with 55 g/l residual sugar and creates a

aromatics suggest sufficient fruit ripeness during

brioche make their presence with coconut faintly

nervous mid-palate timbre. Though shy at first

harvest. They are further complimented with a

on the background, paying respect to the oak.

with a strong suggestion of sweetness, it is kiwi

sea salt character combined with fennel seed and

2015 DRY RIVER ‘MARTINBOROUGH’ CHARDONNAY

2016 DRY RIVER ‘CRAIGHALL’ RIESLING ‘SELECTION’

The wine carries sufficient weight forming

fruit, kumquat and Satsuma mandarin that grab

the attention. A long and linear finish shifts the

a sufficient alcohol level is key for an oily and warm

Tempranillo, to postpone the offer of our 2014 Syrah.

focus to the back highlighting the honey and mineral

mouthfeel, where it will also contribute to a buoyant

The colour is deep red with a ruby hue.

texture. The elongated, oval shape with precise

and seamless palate that provides weight and

First impressions of coffee, mocha, and dark chocolate

acidity will remain in place for the first five years.

roundness. A good equilibrium is achieved between

hint for a wine with high extract and ripeness.

Further evolution will highlight complex Botrytis

the residual sugar – 7 gr/L – texture and acidity

This is supported by Dorus plums, Port like characters

characters of the late harvest component of this wine.

to showcase the ripe character of Viognier, often

and cocoa powder, with cassis adding fresh appeal.

described as apricot kernel with a slight bitterness

The real benefit of the 2013 vintage lay in a very

2016 DRY RIVER ‘DRY RIVER ESTATE’ VIOGNIER

to finish. Hints of peach schnapps, orange rind and

long autumn, allowing for perfect ripening of the

The light golden blush reflects colours of the

a bright lifted aromatic can be noted on the mid-

skins, seeds and stems before picking. This reflects

extraordinary gentle autumn we have experienced.

palate. Viognier is very approachable in its youth, but

in the tannins also; these are soft and detailed that

Hallmark apricot and white peach aromatics are

does benefit evolution for another two to four years.

widely spread over the palate intricately woven in

complimented with mineral tones, chalk and orange

with the fruit characters. Once in the mouth the

flesh. A wood like resin character with cinnamon

2013 DRY RIVER ‘CRAIGHALL’ TEMPRANILLO

spice and lily blossom widens the profile without

When following the tradition of the Spanish

the middle of the palate outwards, with the acidity

losing fresh appeal.

variety, this wine would be classified as a “Reserva”;

retracting the wine back towards the mid again – a dynamic experience.

textural impression of the wine is that it evolves from

One of our aims with this wine is to capture the

one year in barrel and two years in bottle prior to

moment of picking at full ripeness and therefore not

release. With this delay, the evolution of the tannins

Dark fruits are working simultaneously with

compromise on the purity of varietal fruit expression.

certainly benefitted by embedding them more in

the tannins creating a deep and cushion like finish.

To retain this, we therefore ferment this wine in

the general profile of the wine and improve their

Further maturation of three to five years will benefit

stainless steel tanks at cool temperatures. We believe

integration. We decided with the release of this

this wine.

Viognier 7

REVIEWS MICHAEL COOPER For many wine drinkers and connoisseurs both in New Zealand and internationally, Michael Cooper is known to be our country’s most acclaimed wine writer. With a research thesis exploring political pressure groups affecting the wine industry completed in 1977, followed by an early career in wine marketing and writing full time independent wine reviews since 1991, Michael is deeply entrenched in the landscape of New Zealand wine. He has been recognised for his dedication, influence and services with numerous awards, amongst which are: Officer of the New Zealand Order of Merit for services to wine writing in 2004, and the Sir George Fistonich Medal in recognition of services to New Zealand wine in 2009. Michael has written over 40 books on New Zealand wine, consults for Hugh Johnson’s Pocket Wine Book and the World Atlas of Wine, and is the New Zealand editor for Australia’s Winestate Magazine. We consider his extensive knowledge and long experience vital as a benchmark tool when reflecting on our wines. Below you will find his comments on our wine releases from last year. These do not include the 2016 Pinot gris, Gewürtztraminer and Riesling, since they were not yet bottled at the time of his reviews.

2015 DRY RIVER ‘MARTINBOROUGH’ PINOT NOIR 5*

2015 DRY RIVER ‘MARTINBOROUGH’ PINOT GRIS 5*

(20 grams/litre of residual sugar), balanced acidity

Dark and densely flavoured, this Martinborough

From the first vintage in 1986, for many years

Best drinking 2017+.

and a very long, peachy, spicy, harmonious finish.

red ranks among New Zealand’s greatest Pinot

Dry River towered over other New Zealand Pinot

Noirs. It is grown in three company-owned

Gris, by virtue of its exceptional body, flavour

vineyards – Dry River Estate, Craighall and Lovat

richness and longevity. A sturdy Martinborough

2015 DRY RIVER ‘LOVAT’ GEWURZTRAMINER 5*

– on the Martinborough Terrace, and most of the

wine, it has peachy, spicy characters that can

Grown in the Lovat Vineyard in Martinborough, a few hundred metres down the road from the

vines are over 20 years old. Matured for a year in

develop great subtlety and richness with maturity

French oak hogsheads (20–30 per cent new), it is a

(at around five years old for top vintages, which

winery, the delicious 2015 vintage (5*) is from

slower-developing wine than other New Zealand

also hold well for a decade). It is grown in the

mature, 23-year-old vines in Martinborough.

Pinot Noirs, but matures superbly. Revealing

estate and nearby Craighall vineyards, where the

Highly expressive in its infancy, it is pale straw, with

great density, the deeply coloured 2015 vintage

majority of the vines are over 25 years old. To

a fragrant, well-spiced bouquet. A mouthfilling,

(5*) is mouthfilling, with highly concentrated,

avoid any loss of varietal flavour, it is not oak-aged.

medium style (20 grams/litre of residual sugar),

plummy, gently spicy flavours, well-integrated

The 2015 vintage (5*) is already delicious. Bright,

it has concentrated, peachy, gingery flavours,

oak (20 per cent new), and fine-grained tannins.

light lemon/green, it is fleshy, concentrated and

with a vague hint of honey, distinctly spicy notes,

Almost super-charged with flavour, it should

rounded, with generous, ripe stone-fruit and spice

moderate acidity and excellent complexity. Drink

flourish for a decade; open 2019+

flavours, a vague hint of honey, gentle sweetness

now or cellar.

2015 DRY RIVER ‘CRAIGHALL’ RIESLING 5*

a low percentage of new casks). The proportion

2016 DRY RIVER ‘DRY RIVER ESTATE’ VIOGNIER 4.5*

pressed and fermented in French oak barrels (with

One of the finest Rieslings in the country, this is

of the blend that has gone through a softening

The 2016 vintage (4.5*) is already delicious.

typically a wine of exceptional purity, delicacy

malolactic fermentation has never exceeded 15

Handled without oak, it is a fragrant, full-bodied,

and depth, with a proven ability to flourish in

per cent. The 2015 vintage (5*) is a typically

fleshy wine with rich, ripe, citrusy, peachy

the cellar for many years. The grapes are sourced

elegant, fragrant, complex wine. Mouthfilling,

flavours, a sliver of sweetness (7 grams/litre

from a small block of mature vines, mostly over

with a slightly biscuity, mealy bouquet, it is still

residual sugar) and a rounded finish. A youthful,

20 years old, in the Craighall Vineyard, with yields

very youthful, with deep grapefruit and peach

vibrantly fruity, generous wine, it’s a drink-now or

limited to an average of 6 tonnes per hectare, and

flavours, gently seasoned with oak, balanced

cellaring proposition.

the wine is stop-fermented just short of dryness.

acidity and a tightly structured finish. A very

The 2015 vintage (5*) is full-bodied, with deep,

ageworthy wine, it should be at its best 2018+.

citrusy, peachy, slightly limey and biscuity flavours, that build across the palate to a very harmonious and lasting finish. Not at all austere, it’s already very

2016 DRY RIVER ‘CRAIGHALL’ SELECTION RIESLING 5*

2013 DRY RIVER ‘CRAIGHALL’ TEMPRANILLO 4.5* ‘In style the wine sits between our Pinot Noir and Syrah’, reports Dry River. Matured in seasoned

From the ‘ripest parcels of fruit, picked later’, this

oak casks, the 2013 vintage (4.5*) is still a baby.

wine is made to ‘produce a Riesling with low

Deep and bright in colour, it’s a distinctly cool-

2015 DRY RIVER ‘MARTINBOROUGH’ CHARDONNAY 5*

alcohol, high residual sugar and high acidity, in

climate red, very fresh, vibrant and supple, with

order to create a tension between these components’.

blackcurrant, plum and spice flavours, showing excellent ripeness and depth. Finely textured, with

expressive, but well worth cellaring.

Elegance, restraint and subtle power are the key

The 2016 vintage (5*) has obvious potential, but is

qualities of this classic wine. It’s not a bold, upfront

already a delicious mouthful. Bright, light lemon/

gentle tannins, it’s a strong candidate for cellaring;

style, but tight, savoury and seamless, with rich

green, it is medium-bodied (9.5 per cent alcohol),

open 2018+.

grapefruit and nut flavours that build in the

with intense, citrusy, peachy flavours, ripe and

bottle for several years. Based on low-cropping,

fresh, hints of honey and spices, gentle sweetness

Mendoza-clone vines in the Craighall and Dry River

(55 grams/litre residual sugar) and appetising

Estate vineyards, it is hand-harvested, whole-bunch

acidity. Best drinking 2019+.

M U S I N G

Faun, 1905 - Henri-Edmon Cross Philippe Sauvan-Magnet

When tasting a wine, the vineyard connection is often described as part of the ‘terroir’ of its place of origin, with the soil seen as a major contributor. Not often are the honours ascribed to the vines’ capacity to adapt to the conditions it is placed in, and subsequently its ability to translate this characteristic in the wine. When [these] external factors are partly responsible in personalising a wine, they can only come forth as a product of the result of these elements, with plants and their senses as the facilitator giving rise to this. With the gradual change towards a deductive and laboratory form of plant science introduced by Descartes and Newton and a more intellectual perspective on plants through Darwin’s influence, we have managed to remove a large part of our wonder and amazement of the role of plants. To my opinion, we have become more desensitised to the close relationship we require with them. For plants provide us with the air we breathe, food and water we consume and shelter from the elements, this productive workhorse little often receives the credit it deserves. The following musing discusses some of the extraordinary capabilities of plant life that many of us might take for granted. It looks at commonalities and traits we would normally ascribe only to humans or perhaps animals, which help shape the personality of a wine.

THE SIXTH SENSE A N A LT E R N A T I V E P E R S P E C T I V E O N W I N E P E R S O N A L I T Y

by Wilco Lam Earlier this year I was drawn into a conversation with

or at times also referred to as our Sixth Sense. By means of

Australian wine writer Mike Bennie about the Maori concept

proprioception we are aware of the position of our limbs,

of Tûrangawaewae, ‘the external world as a reflection of the

relative to our body. That is why we can touch the tip of

inner sense of security and foundation’, and how to relate

our nose with our eyes closed. Scientists have also accepted

this to wine. As a Dutch immigrant, my relationship with

that plants ‘experience’ other bodily functions like humans.

New Zealand has only been formed over the last 13 years, They communicate, sense touch, observe colour, and wage and I can therefore not claim to relate to this concept like

chemical warfare to dominate space around them. However,

many others in New Zealand can. However, I do take this

it might come as a surprise that plants also experience this

on board, and look at this concept by holding up a mirror

proprioception; embodiment.

as an outsider to reflect this sense of place in our wines. In a

There is a challenge to the anthropomorphic idea for a

way, this echoes well on Dry River, since our wines have never

plant to make observations and have senses. Many will

been a reflection of the mainstream. On the contrary, we are

wonder how we can relate to plants in this way for they do

very much positioned on the fringe, due to a set of different

not possess a central nervous system or receptors to stimulate

beliefs regarding wine growing. Let’s examine one of these

this in the way we, humans and animals, do. To accept that a

aspects viewed through our vineyard: the plant.

plant mimics human behaviour, including exhibiting a social

Normally one doesn’t consider plants to be able to possess

hierarchy, will push many boundaries. However, when we read

senses that register and communicate outside influences,

experts talk about wine and wine assessment, often descriptors

which can reflect in their personality. Surely if plants, in this

like “expression of terroir”, “life in a wine” and “stamina”,

case grapevines, reflect anything, it must be a result of human

only to name a few, are not shied away from. Agreed, this can

intervention? I wondered about this after reading “The man

apply to the chemical make-up of the wine and the way for

that mistook his wife for a hat” by Oliver Sacks. Here he

example the wine responds to oxygen and temperature.

described a case of a woman experiencing the feeling of

Nonetheless, the discourse certainly is personified and related

being paralysed, without physically being paralysed. This is a

to as if the wine possesses human like qualities. When we

process identified as a loss of proprioception, disembodiment,

delve further into the assessment of human like senses in

plants, it becomes more difficult to ridicule these findings.

plants possess smell and vision, we can also start to comprehend

Since plants are sessile beings, robust coping mechanisms

plants understand up from down by sensing gravity in cells on

need to be available for them to survive, thrive and make us, humans, dependent on them. When Charles Darwin in the

The English Oxford Dictionary describes the sixth sense

late 19th century reported in “The Power of Movement in

as “an intuitive faculty giving awareness not explicable in

Plants” on light sensitivities in plants, his results were met

terms of normal perception”. The first part would implicate

with disbelief and scepticism. He showed after a series of

no central nervous system is required, the second part is

experiments that plants have a tendency to grow towards a

that perception can be in any form. If our relationship with

light source, a response for what is explained as phototropism.

wine is purely from a pleasure or stress release point of view,

We now understand that plants have three times the amount

the above bears no meaning. However, if the relationship

of photo receptors compared to humans, and have the ability

with a particular wine goes beyond this, personal attributes of

to observe UV-light in a wider spectrum than we do. It gives

a wine require a provenance of its heritage and can then be

them the ability to observe day versus night and changes of

further explored.

the season. They will also use these receptors to trigger their flowering parts and to grow towards the light source.

the tips of their growing shoots and roots.

In my eyes, Turangawaewae expresses love for a certain place and everything connected to it. And in order to fall

In his book “What a Plant Knows”, Professor Daniel

in love, a personal connection with the “subject” is required.

Chamovitz discusses the sensory system of plants. He explores

Since plants are sensible and autonomous beings that have

how plants excrete odours, phenolic compounds that help

the ability to recognise and function in a social hierarchy, they

attract or deter insects, but also help to communicate their

establish a relationship with the winemaker who will further

presence to other plants. Once this is observed, a specific plant

communicate this. The notion of connection to one-self or to

will grow towards or away from these aromas or trigger defence

a community, gives rise to a sense of existence and meaning.

mechanisms in case of an insect or pathogen attack. Equally,

If disconnected and disembodied one is estranged from this

underground a plant can excrete chemical compounds to fend

relationship. By accepting this concept, we can recognise

off other roots to occupy space to deter soil borne pathogens and

personification through senses and give significance to this

insects or connect to its neighbours. Once we can accept that

in our vineyards.

Vi r g i l

Georgics B o o k I I , 3 5 4 â&#x20AC;&#x201C; 4 1 9, Care of the Vineyard

Introduction by Wilco Lam The contrast of life more than 2000 years ago with our modern age can be described as momentous, and is a sharp reminder of the consequences of progress and evolution within our society. As the motor that enables our continuous existence, farming remains at the heart of this change, though sadly has become more stigmatised in recent history, slowly being eroded of its glory. I believe it is the commodity of this industry that prompts us to distance ourselves from it. By contrast, winegrowing has often been regarded quite differently. The romance attached to rows of vines laden with grapes that are ultimately transformed into wine, has captivated our imagination, and enables drinkers to find their connection with one of our most rudimentary of practices. The Roman poet Virgil, known for his epic masterpiece the Aeneid, wrote a concise set of writings, the Georgics, with the aim to provide moral and religious advice combined with a practical instruction on selective types of agriculture. It was written in such a way it would give delight to its readers. The romantic description in Virgilâ&#x20AC;&#x2122;s poem on farming a vineyard, care for plants and soil, is a fitting addition to the theme in this brochure where he attributes appropriate respect for the laborious demands of caring for plants. Enjoy.

Once you have set the seedlings, it remains to loosen the soil Thoroughly at their roots, and ply the heavy hoe; To discipline the soil with deep-pressed plough, and steer Your straining oxen up and down the alleys of the vineyard. Then make ready and fit smooth reeds, poles of peeled wood, Ash stakes for the forked uprights, Upon whose strength your vines can mount and be trained to clamber Up the high-storied elm trees, not caring tuppence for wind. As long as your vines are growing in first and infant leaf, They’re delicate, need indulgence. And while the gay shoots venture Heavenward, given their head and allowed to roam the sky, Don’t use a knife upon them yet – a fingernail Is enough for pruning their leaves and thinning them out in places. But when they’ve shot up and are holding the elms in strong embrace, Dock the leaves, lop the branches: Till now they could not bear the steel; now you must show them Greater severity, curbing their frisky wanton growth. There’s hedging, too, to be done: every kind of beast you must bar, Especially while the vine-leaf is young and inexperienced. For, beside cruel winters and bullying suns, the woodland Buffalo and restless hunting roedeer habitually Make a playground there, and sheep and greedy heifers a pasture. White frosts that stiffen all And heat of summer that lies so heavy on scorching crags Hurt a vineyard less than flocks with their venomous teeth And the scars they leave on the nibbled stems will damage it. This accounts for the sacrifice of a goat to the Wine-god On every altar, the staging of the ancient ritual plays, The prizes that round their hamlets and crossroads the Athenians Gave for local talent, when they danced on the greasy wine-skins Junketing in the meadows and jolly in their cups. The Ausonians, too, settlers from Troy, are accustomed to hold a Beano, their poems unpolished and unrestrained their jokes: They wear the most hideous wooden Masks, and address the Wine-god in jovial ditties, and hang Wee images of the god to sway from windy pine-boughs. Thus will every vine advance to full fruition And valleys will teem and dells and dingles and combes deep-wooded – Yes, wherever the Wine-god has turned his handsome head. So let us duly pay to that god the homage we owe him In anthems our fathers sang, in offerings of fruit and cake: Led by the horn, let the ritual goat be stood at the altar, And the rich meat of the sacrifice roast upon hazel spits.

Another task there is, the dressing of vines, that is never Finished: for year by year Three times, four times you should loosen the soil: you cannot turn And break the clods with your hoe too often; the whole plantation’s Load of shade must be lightened. A farmer’s work proceeds in Cycles, as the shuttling year returns on its own track. And now, the time when a vineyard puts off its reluctant leaves And a bitter north wind has blown away the pride of the woodland, Even now the countryman actively pushes on to the coming Year and its tasks; attacking the naked vine with a curved Pruning-knife, he shears and trims it into shape. Be the first to dig the land, the first to bring your vine-poles under cover; But the last to gather the vintage. Twice will the vines grow thick With shade, and twice will a tangle of briars overrun the vineyards; Each makes for hard work: so admire a large estate if you like, But farm a small one. Further, You’ll find rough broom in the woods and reeds on the river bank To be cut, and the willow beds will give you plenty of work. Now the vines are tied, the plants are done with pruning The last vine-dresser sings over his finished labours, Yet still you must keep the soil busy, the dust on the move, And watch apprehensive for weather which threatens the ripening grape. OXFORD WORLD’S CLASSICS, Translated by C. Day Lewis Lines 354-419

NOTES FROM HEAD CHEF AT THE FARM AT CAPE KIDNAPPERS

James Honore New Zealand born and bred, James Honore started his journey with the three Robertson family lodges over 10 years ago. He was the sous chef at The Lodge at Kauri Cliffs before taking on the Head Chef role at The Farm at Cape Kidnappers, where he is thriving. He takes inspiration from the vast array of local produce grown right there at The Farm, as well as from the wider Hawke’s Bay region. We asked James together with Tom Riedl, Sommelier at Cape Kidnappers, to share with us a recipe of their favourite dish to match with our Pinot Noir.

VENISON TENDERLOIN WITH CARROTS, BLACK GARLIC, BEETROOT, HORSERADISH & BARLEY Ingredients for four people Venison 2 venison tenderloin, trimmed Pickling vegetables 200g chardonnay vinegar 60g golden caster sugar 100g water 1 bay leaf 4 black peppercorns 6 baby carrots, cleaned & shaved 4 baby beetroots, cleaned & shaved 2 pickling onions

METHOD For the venison Allow the venison to come to room temperature, lightly season & sear quickly getting colour on all sides on a very hot charcoal barbeque, put on a wire rack to cool & set aside. We are just looking to sear the venison. Pickling the vegetables Bring the sugar, vinegar, bay, pepper & water to the boil, cool and pour over the carrots, onion & beetroot separately. Put the onions in a vacuum or zip-lock bag & simmer in hot water until almost tender then chill them in ice water.

Black Garlic Puree 1 shallot, diced 1 stick celery peeled & diced 10 cloves black garlic

Black garlic puree Sweat the shallot & celery in a little butter until softened but without colour, add the black garlic and add enough water to just cover, cook until tender then puree.

Horseradish Cream 1 Tbs fresh horseradish, grated, or creamed horseradish to taste 100g crème fraîche Juice & zest of half a Lemon

Horseradish cream Mix all ingredients together & season to taste

Toasted Barley 50g pearl barley

Toasted Barley Simmer the barley in water for 13 minutes, drain and put on a baking sheet, bake at 80 degrees C for 2 hours or until the grain is completely dry again, toast in vegetable oil that is at 220 degrees C, the grains will puff almost instantly, carefully drain on kitchen paper, season with salt. To serve Cut the now cool venison and dress lightly in a bowl with extra virgin olive oil, season to taste with salt and fresh black pepper. Serve with the already prepared garlic puree, horseradish & pickled vegetables, toasted barley & freshly picked herbs. Tom Riedl, Sommelier at The Farm at Cape Kidnappers ‘The perfect match for our Venison Tenderloin is the 2015 Dry River Pinot Noir. Nose and palate are young, wild and dark berries/black fruit driven with a hint of ripe Portobello Mushrooms which perfectly pair with the pickled beetroot and carrot. On the finish we receive a touch of sweetness to battle against the spice of horse radish. A dream combination of flavour, texture and experience.’

ZUBAIR MOHAMMED RAEBURN FINE WINES UK Part of the international acclaim for our wines

around the world visiting wine estates, to

has been thanks to the support of overseas

recommend an exceptional estate that he

partners and their connections with the wider

had visited and where he had tasted wines

wine industry. One of these for us has been the

that had made a strong impression on

incredible story of the relationship between

his very demanding palate. He, without

Neil McCallum and Zubair Mohammed

hesitation, recommended as his favourite

from Raeburn Fine Wines in Scotland.

Dry River Wines and that I should

A bond which commenced in the early 1990’s,

urgently make contact with Neil and Dawn

as he expounds on below. Zubair’s acclaim

McCallum as they were making, in his

is his distinct ability to discover the hidden

opinion, the finest wines in New Zealand.

gems in the world of fine wine. He liaises

I followed Dirk’s advise and the rest is

personally with producers and, as a result,

history. I slowly found that Neil became

can provide very personal, high quality advice.

a “mentor” to me as I was very young in the wine trade all that time ago and he remains one of the brightest and most innovative “vignerons” I have ever come across (and I have known and still know a large number of winemakers!). I sometimes wonder if other estates have really learned any lessons from his ideas but he did what he did out of inner necessity and what was best for Dry River and also for his vision of what great wines should be and could be. This was indeed his personal vision but when it all translates to world-class wines (as also positively commented on by many

This has earned Raeburn the support of

professionals) then it would be wise to

Michelin-starred restaurants and the respect

listen and study what he did and has done.

as one of the finest wine merchants in the

This great work is still ongoing (and is

United Kingdom.

added to) at Dry River.

My introduction into the world of

Neil and Dawn remain to this day very

Dry River wines was via my great friend

good friends and Dry River is, as I have

and (still ongoing) Port and Portuguese

written, still making wines of great quality

wine supplier Dirk Niepoort from the

and complexity even after the McCallum’s

eponymous and now famous company

sold the estate and retired from Dry

Niepoort Vinhos. I remember asking Dirk

River. Wilco and his team continue this

just as he joined his family’s company (at

wonderful work that Neil, Dawn and their

the age of 28), after a few years of travelling

team started all those many years ago.

CELLARING GUIDE

Riesling

Gewurz

Tempranillo

Viognier

Syrah

Sauvignon bl.

Riesling (Craig)

Pinot noir

Pinot gris

Gewurz (Lovat)

Gewurz (DR or Mart.)

Chardonnay

Late harvest/ Bunch selection

2016 2015 2014 2013 2012 2011 2010 2009 2008 2007 2006 This table is only a guide for a standard cellar at 12ºC – see Cellaring Notes

Be aware that our wines can ‘go into a tunnel’ somewhere between six months and two years after release. During this time the wine can be quite unrewarding, but be patient because it can blossom later and confound earlier impressions and predictions. A second dip can occur between 4 & 6 years when the wine can start to look tired then may well emerge looking refreshed and in an interesting new phase for the next few years. It can be worth opening and even decanting them a few hours before serving – particularly the reds.

KEY not made/to be released hold worth trying but conserve your stocks. drink from now on if from a good cellar; warmer cellars reach this point earlier. there is little to be gained from further cellaring. The effect of differing cellaring conditions will be obvious – wines in warmer cellars should be checked for premature ageing. dead, dying or thinking about it, in our cellaring conditions. Warmer cellars will approach this point sooner.

THE EFFECT OF CELLARING CONDITIONS ON YOUR WINE Warmer and fluctuating temperatures will age wine more rapidly and may not be as beneficial to the less robust wines and varietals. In our experience the ‘robustness’ of wines is likely to be in the order: Cabernet and blends > Sauvignon blanc > Syrah > Riesling > Pinot gris and Chardonnay > Pinot noir and Gewurztraminer. Wines high in extract will tend to mature rather more slowly than the ‘average’ same varietal on this list. If you have a number of our wines and your cellar conditions are not similar to our ‘standard cellar’, you will no doubt learn how to interpret the chart in relation to your own conditions. However, a more active approach to evaluating your cellar is to note temperatures for the range of the days, between weeks and between seasons, by leaving a thermometer in a large jar of water in your cellar. It is not sufficient to observe that the cellar ‘always feels cool’ – such feelings are relative only to outside conditions. Significant fluctuations in daily or weekly temperatures tend to add to the speed of ageing commented on below, and may also increase the incidence of leakers and seepers, occasionally give examples of ATA (atypical ageing – see GENERAL NOTES … , Aromas) and disproportionately fast ageing for laccase-containing wines (i.e. those with potential or actual botrytis). Vibration and direct light on the wine are damaging influences which should also be avoided.

General Notes Relating to Cellared Wines Wine maturation is an organic process which is very dependent on the conditions of cellaring. Wines do not inevitably end up at a predictable quality and style, hence André Simone’s famous quote ‘there are no great wines, only great bottles.’ Nevertheless, cellars with the best possible conditions are the most likely to produce the best possible end results.

If your storage has temperature maximums of no more than…

Ageing – premature A wine can show maturity beyond its years, but this tends not to be such a cause for concern until the wine is past its peak – as evidenced by loss of fruit, oxidation and possible browning. If a number of wines in your cellar show such symptoms and these are in advance of expectations, a careful evaluation of your cellar conditions is necessary. If you do not wish to or cannot improve these conditions, be aware that all your wines should be drunk somewhat earlier than may be generally recommended. Wines from high-laccase vintages, e.g. ’95 and ’97, will be disproportionately affected. Premature ageing does sacrifice some potential quality. Refer to CELLARING GUIDE or consult us if you have queries. Aromas – unpleasant If you know that a wine had good typical smells when first purchased but it has developed unpleasant (sulphide) smells as it has aged, there can be several possible explanations. These include ATA (atypical ageing) which is brought on by heat – either a short period at high temperatures or warmish cellaring. ATA may affect an occasional bottle within that batch of wine, and the only way of avoiding it is to improve the cellar or storage conditions to less than 14˚C. Leaving a bottle out in bright light can also cause sulphides (“light struck”), and wines stored under screwcaps can also generate this type of smell when stored for a few years. Bottle Shock Shortly after a wine is bottled it can appear atypical, lacking fruit,

Then your storage conditions are…

10–15°C

good, and your wines will be at a similar stage of development to that indicated in the table on page 16. Burgundians say that for proper cellaring Pinot noir must be kept in this temperature range (cf. the book Pinot noir, by A. Barr, p33)

15–18°C

at these temperatures your wine could be maturing

20–25%

faster than above. Nevertheless, for quality the conditions are adequate, unless you would like to pamper your wines or your cellar is large and/or valuable. The chart should still be very useful, but bear in mind that your wines will develop faster. The results may be less fine.

18–24°C

this includes quite a few Auckland cellars. It is not ideal; differences in speed of development will be evident even with storage over 2–3 years. Plan for holding less robust wines (discussed above) no more than 3 years. Be aware that a mature wine from this cellar is likely to be not quite as good as one aged at lower temperatures.

25+°C

not very good, but do note that most good wines may still benefit for up to 2 or 3 years in this cellar. Less robust wines probably should not be held beyond 2 years. Cabernet and blends, Sauvignon blanc, Fumé blanc, Riesling could benefit from longer periods, depending on the actual conditions. Avoid cellaring Pinot noir.

becoming rather hard and angular and even tasting aldehydic. This is from the effects of filtration and possible oxidation at the time of bottling and it should recover in a few months. Breathing wines This is the practice of decorking a wine or even decanting several hours before drinking. It can help very young wines (particularly reds), more mature wines which may have developed less than pleasant smells, or slightly sprizig reds. Buying cellared wines This can be a risky proposition. It is unwise to accept an auctioneer’s assurance that they have been cellared well. Risks can be reduced by buying only the ‘robust varieties’ (see Cellaring Guide) but unless you know that the cellar was temperature controlled, purpose-built or situated within a cool even-temperatured climate, be prepared for surprises. Check the cork and ullage. Capsules Capsules may be made from many materials including plastic, metals or sealing wax. Capsules can protect the cork against cork borer but tend to have little other than a decorative function, unless they are made of wax, which probably slightly slows down the access of oxygen and is therefore an alternative for wines to be cellared for a long time, or for half bottles. Clarity/brilliance Cloudiness in a white wine can be unattractive but need not affect the flavour. In these instances it can arise from a protein instability or some other causes. Other forms of hazes in both whites and reds can arise from microbiological in-

stability or the effects of trace metals such as iron or copper and may indicate a damaged wine. (See also Sediment/deposits.) Colour/hue This should be appropriate for the type and age of the wine. Excessive brown tints immediately call the condition of the wine to question – oxidation and premature ageing are possible. (See also Oxidation.) Cork borers These are probably similar to wood borer. Cork dust is seen on the outer surface of the cork and small holes will have been eaten into the cork. I suggest spraying a pyrethroid fly spray on the surface of the cork and then sealing it with sealing wax. If a number of bottles are affected, fumigating your cellar may be a good idea. Corked wines This does not refer to wines with fragments of cork in the bottle. The fault arises from trace flavours within the cork which result in wines with mouldy or ‘wet sack flavours’ and a loss of fruit. In borderline cases, a loss of fruit might still be evident, but the extraneous flavours will be too difficult for most to detect. Although the fault arises from the cork manufacture, most winemakers will replace the bottle. It is worth noting that we have strict Quality Assurance checks on all our corks. If it appears that two of our wines in a row show cork taint, check that the problem does not in fact arise from cellaring conditions. Corked Wines – return of If one of our wines is affected, we will provide a credit for the mail order purchase of the same wine from the current vintage. We do like

to confirm the cause of the problem so, if at all possible, top up the bottle with boiled and cooled water, stopper it with the original cork in the same orientation as it was originally, and return it to us ASAP (preferably within 24 hours) with a note indicating the date of opening, for forwarding to the cork supplier. Expect no more than around 1 in 50 of recent vintages to be affected.

cleaned your teeth or sucked peppermints within a few hours of tasting the wine? This can markedly alter your perception of flavours. Alternatively the wine may be ‘corked’ (see above), suffering from premature ageing (see below) or oxidation. Storing bottles of wine in sunlight (particularly in clear or lighter coloured glass) can cause flavour loss in a matter of weeks.

Decanting Essential with all wines which throw a sediment, otherwise the flavours will be impaired. (See also Sediments/ deposits.) Wines made for cellaring (i.e. rich in antioxidants) can look lean and hard when first opened, but access by air softens and improves the texture. Even our older white and red wines (after good cellaring) are likely to benefit from decanting a few hours in advance and our young reds in particular,can even benefit from being left to cool or in the fridge overnight.

Oxidation This can cause a drying sensation – more in the front of the mouth – which can be reminiscent of the flavour of sherry, or smell toffee-like, or cause dulled fruit on the palate. It can arise because of excessive ullage, poor cellaring, or because the wine is simply too old. Dull colour or excessive brown tints can be telltales, but don’t be confused by the effect of fluorescent light on reds, particularly lighter coloured ones. (See also Random Oxidation.)

Half bottles These have the same size cork for half the volume of wine. Oxidation and ageing therefore proceed significantly faster than with larger bottles. Given the choice, buy the larger bottles for longterm cellaring. Dessert wines of very high must weight can last a long time even in half bottles. Lead residues Older wine bottles with lead capsules tend to accumulate traces of lead acetate around the mouth, and theoretically these residues may be partly dissolved when pouring the wine. Wipe the top of the bottle clean before pouring such wines. Lead capsules are now phased out worldwide and Dry River has used alternative materials since 1992. Leakers If a new wine is leaking badly, return it. If it is a particularly good wine, it can be recorked. (see also Seeping Corks.) If your older wines have a tendency to leak, check your storage conditions. Loss of, or unusual flavours Had you

Random Oxidation Occasionally one can encounter oxidized wines which are unlike the rest of the batch from which they came. There are several possible explanations for this problem which can be found under all types of closures. If the wine is one of ours, treat it as described in Corked Wines – return of so that we can confirm the problem and replace the bottle. Sediment/deposits Most sediment which settles easily is harmless and the wine should be decanted off it before serving. Allowing the sediment to mix into the wine can make a dramatic difference to the perception of quality – particularly in reds. (See also Wine crystals and Decanting.) Seeping corks If the top of the cork is damp, the wine should be drunk soon – even if there is no obvious increase in ullage. Seepage is an indication that air has had at least some access to the wine, and although such bottles are unlikely to be spoiled, this low-level oxidation will progressively dull the fruit as time goes on. If you are getting a significant number of these wines,

check the temperatures and temperature fluctuations in your cellar – it may need to be improved. Temperature of serving Generally red wines are served warmer than whites. However, there are no simple rules, so be prepared to experiment or consult a good wine text. Remember that your perception of many flavours can change considerably with a change of only a few degrees celsius. Travel Shock Vibration during transport can make wine appear atypical – hard or angular and lacking fruit. It can take up to two months to recover – less if stored at low temperatures. Transporting wine at low temperatures (5–10˚C) reduces the problem. Exposure of the bottle to vibration during storage (e.g. under stairs) can have a similar effect. Ullage The ullage is the gap between the cork and the level of the wine when the bottle is vertical. As the wine grows older the ullage will increase depending on the cork and storage conditions. If the cork is actually leaking and has an excessive ullage it should be drunk as soon as possible. Older wines with excessive ullage and sound corks will tend to oxidise or deteriorate more quickly, but robust examples can still be sound with 4.5–7cm ullage. More delicate wines and most whites will show deterioration well before this. Always check the ullage of a wine and the condition of the cork before opening the bottle to determine whether it may be atypical in terms of its ageing. Wine crystals With time, some wines may deposit crystals in the bottle and on the inside of the cork. In a white wine these crystals tend to be white and in a red wine they may be affected by the colour of the wine. This is a natural deposit reflecting a lack of processing in the wine. It can be found in the most expensive hand-made wines and should not be considered a fault. It does not necessitate decanting.

AUCKLAND

DRY RIVER L O C A T I O N

MARTINBOROUGH WELLINGTON

CHRISTCHURCH

LOVAT VINEYARD

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NE W R YO KS T

AT AN

CRAIGHALL VINEYARD

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ST G RE LL

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T DRY RIVER VINEYARD & WINERY

Left to right facing: Sarah Bartlett, Sue Rickey, Tom Hindmarsh, Ethan Pittard

Left to right: James Pittard, Michelle Mills, Wilco Lam

D R W I N E S LT D , M A R T I N B O R O U G H W W W. D R Y R I V E R . C O . N Z