Two of My Favorite Things
2020 Domaine Jérôme Galeyrand Bourgogne Aligoté Le Cran
Franz Schubert, Impromptu in B flat Major, Op. 142/3 (D. 935)
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Who needs raindrops on roses and whiskers on kittens when you can have Aligoté and Schubert?
Schubert is a guaranteed pick for my top composers, just as Aligoté, a Burgundian grape, is for one of my favorite varietals. Today, we delve into these two passions, seemingly unlikely companions that share a hidden charm.
Aligoté is not everyone’s darling, especially when standing next to Chardonnay’s brilliance in Burgundy. However, I find its charm quite undeniable. Often overshadowed, Aligoté offers a distinct personality waiting to be discovered. Crafted by respected winemakers, it sings with vibrancy, boasting an exciting flavor profile beyond just crisp acidity. This very quality makes it incredibly versatile, perfectly complementing the delicate flavors of raw seafood, the richness of fried chicken, or the earthy notes of roasted vegetables.
Last year, a Burgundy-pairing dinner opened my eyes to the magic of Aligoté. The first sip of François Mikulski’s bottling was a revelation––electric yet nonchalantly elegant, it showcased the grape’s true potential. Since then, I have become an avid seeker of Aligoté crafted by passionate producers. These wines transcend mere refreshment; they capture the essence of terroir and the artistry of the winemakers.
Perhaps it’s Aligoté’s very rarity that fuels my fascination. In Burgundy, Chardonnay reigns supreme, leaving Aligoté as a hidden gem. This might explain my next theory: with so much focus on Chardonnay, passionate winemakers might be more drawn to express themselves through Aligoté. It could be that, at a similar price point, you’re more likely to encounter a truly exceptional bottle of Aligoté than Chardonnay. On a sidenote, the roundtable of Burgundian winemakers that Galeyrand is part of is called ‘Les Aligoteurs.’ Besides Galeyrand, some of my other favorite Burgundian winemakers are part of this cultural council such as Domaine Chanterêves, Sylvain Pataille, François Mikulski, Pierre Morey, Vincent Dureuil-Janthial, Bruno Clair, etc.
One of my all-time favorite winemakers from Burgundy is Jérôme Galeyrand. In fact, his 2020 Fixin Champs de Vosgers reignited my forgotten passion for fine wine. Since then, I have always sought out Galeyrand’s wines. So without trying his white wines, I immediately felt that I would enjoy every drop of his Aligoté. This wine was complex yet easy-drinking, slightly different from most Aligoté wines I’ve tried. All the key characteristics were there: lemon, lemon zest, green apple, and white flower. I was pleasantly surprised by other notes that made this wine more exciting, such as wet stone, yellow peach, mango, banana, banana peel, parsnip, and rock salt (umami). I sensed quite a lot of tropical fruits, a very rare note in Burgundian Aligoté. So, I speculated that the grapes might be from the southern, warmer part of Burgundy. It turns out the grapes are from Culles-les-Roches in the Côte Chalonnaise, with a general soil composite of pink granite, possibly contributing to the umami, rock salt, and banana peel notes.
There was a great balance between elegance and crispness in this wine. While elegantly showcasing all the tropical fruit and vegetal notes, it also featured mouthwatering crisp citrus and green fruits. It truly was a great experience tasting Aligoté, with many layers of complexity and enjoyable traits.
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Let's shift gears and talk about music. Similar to how Aligoté captivates passionate wine lovers, the music of Franz Schubert ignites a deep devotion in its listeners. During his lifetime, Schubert’s music thrived in intimate settings like private parties, where a dedicated circle of friends and admirers would gather. These gatherings even had a name: Schubertiades. Many of Schubert’s works were premiered at these events. While the audience may not have been vast, it pulsated with a shared belief in Schubert’s ingenuity. Just like how Aligoté’s unique charm draws devoted enthusiasts, so too did Schubert’s music. It united passionate communities to witness the birth and performance of his masterpieces.
Schubert’s music, particularly his song cycles and piano pieces, has always held a special place in my heart. There’s a captivating and magical quality to his works that draws listeners in and keeps them enthralled.
The Impromptu Op. 142/3 (D. 935) that I’ve chosen to pair with this wine is part of a set of four Impromptus written for solo piano in 1827, in the same year as another set (Op. 90, D. 899). Unlike the Op. 90, however, the Op. 142 (D. 935) wasn’t published until over a decade after Schubert’s untimely death.
While shorter piano pieces like Impromptus were in style at the time, Schubert faced challenges finding a publisher for this set. His publisher had already released two Impromptus from the D. 899 set, and was not interested in publishing more. Another publisher rejected them due to their perceived technical difficulty, deeming them unmarketable in France.
Despite these setbacks, the Impromptus eventually found its way into print posthumously. It’s a real shame that they were not fully recognized during Schubert’s lifetime, but it’s gratifying to know they’re now cherished and celebrated by many.
My love affair with Schubert’s Impromptus began in college. Attending recitals by friends, I was captivated by the first Impromptus I encountered. Eager to delve deeper, I bought CDs and spent countless hours in my dorm room, revisiting these gems. Despite their seemingly simple form and melody, they possessed an enduring quality that defied repetition. Especially on sleepless nights, these pieces offered me solace and companionship.
The Impromptu Op. 142/3 (D. 935) exemplifies a musical form called “theme and variations.” Imagine a melody introduced at the outset, followed by a series of playful reinterpretations. The core theme remains familiar, yet takes on a new life through embellishments, shifting harmonies, and changes in tempo, creating a landscape of moods.
This concept beautifully mirrors the evolution of wine in the bottle. The essence remains, yet subtle nuances emerge over time. Just as the theme persists in the Impromptu, the core character of the wine endures, while new flavor notes blossom as it ages.
The other day, while rummaging through my sheet music, I unearthed a forgotten treasure, an arrangement of the Impromptu Op. 142/3 (D. 935). A wave of joy washed over me as I rediscovered the music, spending the next few days reacquainting myself with its beauty. The elegance, joy, and sheer charm of the piece transported me back to my youth, reigniting a sense of excitement and inspiration. Similarly, a recent encounter with Galeyrand’s Aligoté elicited a kindred spirit, a surge of positive emotions that evoked cherished memories.
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For those seeking to explore this Impromptu, I highly recommend Krystian Zimerman’s recording. His interpretation shimmers with playful charm, reminiscent of silver bells ringing. Conversely, Mitsuko Uchida’s recording offers a serene experience, akin to reading a favorite novel on a warm spring afternoon, a feeling I cherished during my college years.
More recently, I’ve discovered the magic of Sir Clifford Curzon’s recording. This came about after watching “Seymour: An Introduction,” a documentary by Ethan Hawke on American pianist Seymour Bernstein. In the film, Bernstein discusses his encounters with Curzon, and there’s a scene showing Curzon playing one of the Impromptus (A flat major) in the background. The passion and ecstasy Curzon poured into his playing deeply moved me.
Ultimately, I hope this exploration inspires you to discover your own connection with Schubert’s timeless masterpiece.
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“These are a few of my favorite things. ( … ) I simply remember my favorite things and then I don’t feel so bad.”
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* The Impromptu in A flat major starts at 2:10.
Appendix:
Curzon’s recording of both sets is truly excellent. It’s a shame that there is no video of him playing the entire set.
On a side note, I’ve heard that the 2021 and 2022 vintages from Burgundy are much more exciting, both in red and white wines. I cannot wait to try more of Galeyrand’s 2021 vintage, and I am eagerly anticipating the release of the 2022 vintage.
Just in case, my title wasn’t obvious … I was referring to the film, Sound of Music. I tried to be witty … I tried.