Traditions That Never Die
photo 1.
1990 Château Haut-Marbuzet
Johannes Brahms, Piano Concerto No. 2 in B-flat Major
–––
After acquiring the 1990 Haut-Marbuzet from a private collection through Crush Wine and Spirits, my wife and I patiently awaited the ideal moment to uncork this 33-year-old gem. Thanksgiving presented itself as the perfect occasion to savor this wine, enhancing the great American holiday. With my sister-in-law and a close friend joining us for the celebration, it truly became the moment we had anticipated.
Having read about the maker in Jane Anson’s Inside Bordeaux, I was intrigued to learn more about this producer. Anson, noting her experience with multiple vintages, asserted that even after 30 to 40 years, the wine continued to exhibit outstanding performance. This prompted me to wonder how it would compare to the 1989 Château Sociando, tasted the previous summer. The Sociando, well into its mature stage, displayed fewer primary characteristics and more tertiary notes, setting my expectations for the aged Bordeaux. (Discovering the Enticing Allure of Yesteryears)
The storage conditions were outstanding, with the wine ullage still at its top shoulder. As the anticipation built, I carefully used my Bilame to extract the cork, finding it in impeccable condition. With my heart pounding, I decanted the wine to separate the sediments. Unlike my previous experience with older wines, only a minimal amount of sediment collected in the bottle. After letting the wine settle in the decanter, the tasting began.
photo 2. Top shoulder, showing the pristine condition
photo 3. Great cork condition
photo 4. Carefully separated the sediments and rested.
Surprisingly, the wine had retained its youthful nature, revealing notes of red currant, red plum, strawberry, prune, cranberry, and a hint of green bell pepper. Some tannins lingered, providing a grippy feel. In addition to primary notes, secondary and tertiary elements like clove, cinnamon, vanilla, forest floor, dry leaf, and raisin emerged. Despite encompassing all three flavor categories, the wine leaned more towards its youth than maturity, affirming the legendary status of the 1990 vintage.
Paired with our Thanksgiving feast of roasted chicken, fluffy mashed potatoes, cranberry chutney, and roasted vegetables, the wine complemented the meal splendidly. Unfortunately, no photos were taken as we were too immersed in the preparation and consumption.
We only consumed half of the bottle that day, and I transferred the remaining decanted wine back into the bottle for a second-day tasting. Surprisingly, the primary characters had diminished, giving prominence to secondary and tertiary notes such as dried prunes, raisin, tree bark, and mushroom. Reflecting on this, I regretted not allowing the wine to breathe longer on its uncorking day, realizing that the peak might have occurred between the first and second days.
Every life moment is a learning experience, and this tasting reinforced the lesson: patience is a virtue. Next time I uncork an aged bottle, I anticipate an even greater experience.
–––
Before delving into wine and music pairing, I’d like to share my recent experience with Brahms’ Piano Concerto No. 2. While I had played and heard the piece many times before, my most recent performance of the piece was different—it was with one of my favorite living pianists, Yefim Bronfman. Having seen him live for the first time twelve years ago, I eagerly anticipated playing alongside him. To fully immerse myself in the piece, I did a thorough score study, marked important entrances, and, unexpectedly, developed a deep emotional connection to the piece.
Brahms completed this masterpiece within a span of three years. The significant gap between the completion of his first and second concertos encompasses a period of twenty-two years. Renowned for his meticulous approach and perfectionism, it’s noteworthy that Brahms dedicated twenty-one years to crafting his very first symphony, which he completed in 1876. (Surprisingly, Brahms commenced his second symphony in 1877 and finished it within the same year.) He began composing his second concerto in 1878 and concluded the work in 1881. Remarkably, Brahms not only completed the concerto in that year but also world-premiered it, assuming the role of soloist.
Comparing wine to music is a nuanced process that demands the exploration of similarities and the imaginative visualization of how the wine might resonate in musical terms. This endeavor necessitates not only intense concentration but also a focused attention to sensory sensations, delving into the realms of memorized senses to extract a harmonious connection between the two art forms. However, the connection between the 1990 Haut-Marbuzet and Brahms’ second piano concerto came effortlessly. Generally, I find joy in pairing mature Bordeaux wines with Brahms’ music due to its autumnal solitude, warmth, welcoming nature, and depth. The wine’s structure mirrors the majestic first movement, the interplay among characters resonates with the dramatic second movement, the overall mature wine aligns with the gorgeous third movement, and the youthful nature of the last movement corresponds to the wine’s playful and humorous qualities.
Furthermore, the seamless pairing of Brahms with mature Bordeaux wines can be attributed, in my perspective, to Brahms’ commitment to classicism. During an era when composers were leaning towards programmatic music, crafting symphonic works with titles and detailed descriptions, or delving into operatic compositions, Brahms adhered to a more traditional approach, drawing inspiration from musical styles and forms of preceding decades and centuries. He dedicated himself to writing absolute music and vocal pieces set to poetry. While his stance garnered disapproval from composers with progressive views, it also earned him admiration from those who cherished traditional values. Brahms’ unwavering persistence in maintaining his compositional voice ultimately led to widespread acclaim among musicians and music enthusiasts alike.
This parallel resonates with the world of Bordeaux wines, where adherence to the styles and traditions of the Châteaux reflects a classicistic and traditionalistic approach akin to Brahms’ method of composing music. The shared commitment to timeless principles in both realms contributes to the harmonious pairing of Brahms’ compositions with the refined and enduring characteristics of mature Bordeaux wines.
–––
Numerous recordings of Brahms’ Piano Concerto No. 2 exist, and any featuring a respected soloist, thoughtful conductor, and skilled orchestra promise a great performance. Interpretation, a personal and subjective aspect, is key. While studying the piece, I enjoyed a few recordings that I’m happy to share with you.
Appendix:
Jane Anson’s Inside Bordeaux is truly an incredible resource for learning everything about Bordeaux wine and its châteaux. It covers almost all aspects of Bordeaux, and Anson enhances the experience by incorporating her personal anecdotes for each château.