Santorini as a destination for wine lovers

Arguably Santorini’s biggest attraction is the view over the volcanic caldera. We arrived after dark, but when we woke up and stuck our noses out of the bedroom we saw it for the first time, and I took this picture. The two closest islands are the peaks of the volcano, while the distant island and Santorini itself represent the volcano’s edge. Nearly 4,000 years ago most of it collapsed into the sea, causing a tsunami that destroyed the Minoan civilisation in Crete, some 100 miles away. It is often said that the caldera view is best from the resort of Oia; we were staying just outside the considerably less touristy Megalochori, and ours was pretty good too.



Visual clichés are not difficult to find on Santorini, but that does not necessarily make them any less attractive. This church is in Pyrgos, a village within easy walking distance of Megalochori, and close to the highest point of the island. It is another of the more traditional villages, but has considerably more tourist impact than Megalochori. Perhaps a good thing, as there is a better selection of restaurants, including some of the best on the island. Quite a few more-exclusive hotels too. But being more inland it lacks the much sought-after caldera view, at least the one you get directly from the cliff top. On the other hand you do get a 360° view of the whole island.

Santorini has archaeology too. We spent a leisurely two or three days visiting the two main sites, and the archaeological museums in Fira. Pictured below are some of the Akrotiri excavations of a Minoan bronze age settlement. The town was destroyed by volcanic eruptions around 1627 BC: the ones that also finished the Minoan civilisation in Crete. The site could be described as another Pompeii, both in the sense that it was a town destroyed yet preserved by a volcano, and also in terms of its archaeological significance. There is already a large covered area that has been excavated, but that represents only a small fraction of the town.


Close to those excavations is a small beach (yes, Santorini has beaches too, if you like that sort of thing) with a few restaurants. There we ate seafood, including this fried squid. Which brings me to the subject of food, and a good deal closer to why wine lovers in particular will like Santorini. Our experience with restaurants was very mixed. It seemed that Santorini tourists are quite happy to throw a lot of money at fancy restaurants that offer stylish, but poorly conceived and executed, food. However good places do exist, and also simple unpretentious family run operations with basic food at a fair price. The squid was eaten as Melina’s Tavern, which is definitely at the better end of the spectrum.



There is a lot more to Santorini wine than the Assyrtiko grape, but this variety is the lead player. Various styles of it can be found on the island, but a good quality wine that sees no oak contact is its purest expression, and the Gaia Thalassitis pictured here is an excellent example. Intense, with sharp and steely minerality, but also full-bodied and powerful. Even early in the morning as I type this, the thought of that small plate of squid with a glass of Assyrtiko is making my mouth water.

We did not see the vineyards at the most attractive time of year, but they are nevertheless probably best described as interesting rather than beautiful. I have never seen such barren vineyard soil before – pumice stones and dust, with the occasional lump of volcanic rock, and practically no organic matter.

Vines are widely spaced, to allow each one to find enough water, and pruned very low to prevent wind damage. Basket pruning is the style that usually gets mentioned, and you can see examples in the foreground of the image below. No phylloxera here, so every vine is on its own its own roots, and provenage is used for propagation. Old vines are common, with many labels claiming vines over 50 years old, and some over 150 – truly pre-phylloxera. Expect more on Santorini vineyards, vines, varieties and wines in future blog posts.


Are there any downsides to Santorini as a tourist destination? Well, it is not the cheapest place in Greece. However, by UK standards, even with a weak pound, I would not say it is particularly expensive either. Also, I am told it gets very busy in the Summer, especially when receiving visits from cruise ships, but in early October nothing seemed particularly crowded. The weather is a bit more of a risk at that time, but we still had maximum temperatures of 23-26ºC, and saw no more than a few spots of rain.

Santorini has so much to offer as a destination for wine lovers. If you haven’t yet been, you should at the very least seriously consider a visit. I don’t know why I left it so long.

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Two wines from Georgia

In preparation for a Georgia wine trip planned for next year, I spent quite a bit of time on the Georgia tables at the Autumn SITT tasting, and now feel I have much better idea of what to expect. For example, I now have expectations about the main red and white grape varieties, Saperavi and Rkatsiteli, and the qualities imparted by qvevri maceration. Some misapprehensions doubtless, but expectations nevertheless.

At the tasting, two producer representatives were kind enough to let me take away bottles of the wines I liked best. Please don’t read too much into my selection – I am always hesitant to judge on a quick sniff and swirl, but for the same reason I was very glad to have the opportunity to re-taste at home, and drink the wines with food. As far as I know, neither producer is represented in the UK, so I do not know for sure what the prices would be here. However, the Marunuli is at the top end of the producer’s range, and the Askaneli towards the bottom. Comparing with the price range for Georgian wines in the UK that could imply retail prices of around £25 and £12.
, Rkatsiteli Quevri, 2014, 13.0%
According to the label, the grapes were grown in Kakheti, which is Georgia’s main wine region, in the East of the country. At SITT, this wine stood out for me as being particularly full, rich and aromatic – a particularly attractive and serious wine. On opening at home, I thought it did not live up to what I experienced at SITT, but throughout the meal, and the following evening, it grew on me more and more. It was not complex in the sense that I got different impressions within a few minutes of each other, but it seemed to change over longer periods, becoming more and more intriguing. Medium deep amber in colour. It is what we would call an orange wine, as it was fermented and matured on its skins. On the nose the initial impression was intense, phenolic, and with hint of rose I think, an aroma I now associate with the Rkatsiteli grape variety. Medium acidity. Dry. Medium low astringency when you look for it. Smooth, viscous and full bodied. Notes of incense, with orange blossom and zest. More phenolic on the finish, giving a dry and bitter finish. Decent length. The aromatic profile developed. Later in the evening, aniseed and licorice; and the following day, Seville orange and ginger. The experience of the wine was very temperature dependent. At fridge temperature the rose aromatics were very noticeable, as was the astringency.  Towards room temperature it was more Sherry-like. The tasting notes above were probably made around 14°C, which I thought showed the wine to its best advantage, while the recommendation on the bottle was for a few degrees warmer. Absolutely no idea if this would improve with age, but it is good to drink now *****

Askaneli Brothers, Saperavi, 13.0%
There is no indication of geographic origin or vintage on the bottle, but the website says Kakheti, and the SITT catalogue 2013. There is something that looks like a bottling date on the label: 01.07.2016. It that really consistent with a 2013 vintage? Medium pale purple ruby. Intense nose, with a quality I find difficult to describe. There was definitely cherry fruit, but also a green character – perhaps raw broad beans, melon, peppermint, or even cream – difficult to describe, and something that I found a lot more pleasant than my attempted description might imply. I found it on a few of the Saperavi wines at SITT, and think I shall probably call it sappy in future tasting notes, by way of alliteration. Medium acidity, and an impression of sweetness, which I presume really came from the ripeness of the fruit. Medium low tannin. Excellent length. Drink now I guess. I tasted this very lightly chilled ****

Not all wines on the Georgian table were as good as these two, but that of course would hold true for wines from any country, and on the whole they were attractive and offered a lot of interest for my West European palate. The only wines I could not contemplate drinking were the medium sweet reds, which I was told are now produced mainly for export to ex-Soviet countries, the Georgians themselves preferring dry wines. I doubt very much they would sell well here but, for those that do like that style, Georgia pretty much has the market to itself.

Looking forward to my trip!

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Subjectivity in Wine Appreciation article

Just a quick post to say that my Subjectivity in Wine Appreciation article, published in The World of Fine Wine Issue 51 Q1 2016, is now available here.

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Moscatel do Douro

I have undoubtedly drunk Moscatel do Douro before, but I must have thought they were either Douro DOC wines or a varietal white Ports, because it came as a bit of a surprise to discover that it has its own DOC. The wines are made from at least 85% Moscatel Galego Branco (AKA Muscat Blanc à Petits Grains), and have their fermentation stopped by fortification to at least 16%, but typically less than Port. The wines described below were brought back from the Douro by a friend, and offered for tasting at my local wine group.


The parish of Favaios lies roughly 10km to the North of Pinão, in the Cima Corgo region of the Douro, and Adega de Favaios is a coop winery located there. It is probably best known for its range of Muscats, but does also make other wines.

Adega de Favaios, 10 year old, 17.0%, 75cl, €15 in Portugal, £28.00 from a UK merchant
Blend of different vintages with an average age of 10 years. Medium pale tawny colour. Smells a bit cheesy, something I also tend to notice on cheaper Madeiras. It is something I dislike, but does not seem to bother many other people; friends round the table found this wine more agreeable than I did. Vague caramel. Medium low acid. Sweet, but not as lusciously sweet as some wines. Drink now. Maybe OK at the Portuguese price, but no way would I pay £28. Just about scrapes ***

Adega de Favaios, Colheita 1999, 18.5%, 75cl, €30 in Portugal
Wine of a single vintage, and quite a bit older than the 10yo. Very similar in the basic dimensions, but this is a lot more elegant and classy, with a figgy caramel nature that is both intense and fresh. Dread to think how much this would cost in the UK if it were available here ****


The producer Fragulio is also from the area just North of Pinão but, unlike Adega de Favaios, it is a family run business, and this is its only Moscatel.

Fragulho, Reserva, DOC, 2010, 19.0%, 37.5cl; €15
Note that the quoted price is for a half bottle, so volume for volume it costs the same as the Favaios colheita wine. Pale amber.  Intense, fresh, and I think drier than the other Moscatels tried this evening. A bit sharper too, with medium acidity. Aromatic and grapey, with Muscat varietal typicity. Finishes dry. Drink now ****

So not wines that I will be dashing out to buy, but it was interesting to try a few side by side. However, nothing much wrong with them though, and others were a lot more positive than me. I am a lot more fussy about sweet wines than I am with other styles, tending to favour those that achieve balance through extremes of acidity and sweetness – unlike these wines, which were more moderate in both respects.

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Beck Ink at Squid Ink – an Austrian red at a new restaurant

beck-inkSquid Ink is a Manchester restaurant that opened only a few months ago, and they suggested Beck Ink to match the current menu, even though the wine did not feature on the printed list. The uncanny relevance of the wine’s label image to our venue was not lost on the restaurant, but I fear it is a little too expensive to ever be their house wine. Its retail price from Buon Vino is £12.50, while the restaurant served it for £25.00, which in my naïve view is a very modest restaurant mark-up. A lot more modest than the Romanian Pinot Noir on the list, which I was also considering.

Turning the bottle to see the back label, we could see that the wine was 2014, certified organic, from Burgenland in Austria, 12.5% ABV, and bottled by Judith Beck. The Buon Vino website adds: biodynamic, wild yeasts, 80% Zweigelt 20% St Laurent, and that Judith Beck is also the producer.

It was medium pale purple-ruby in colour. Intensely fruity on the nose, dark berries. Medium high acidity, giving the wine a structure that would otherwise be lacking, as it was not at all astringent. Intense, vibrant, fresh and fruity. Light bodied, and refreshing. Excellent length. Drink now. My previous experience with Austrian reds has been generally disappointing, but it seems further exploration is called for. This is a style of wine that I really like, and I was tempted to give it a higher score, but finally decided on  ****

Oh, and it did go well with the food, so top marks to the restaurant for the recco. The menu was in the style that reads more like lists of ingredients than prepared dishes, but the three courses that the wine needed to match were basically: subtly spiced lamb meatballs on a bed of kale; chickpeas in pepper, tomato and harissa sauce with poached egg; and confit duck leg with pear and salad.

Overall the dining experience was very good. There is just one four course menu, and a short wine list with not a Cab Sauv, Chardonnay or Pinot Grigio in sight. The kitchen is in the restaurant area, with food prepared single-handedly by the owner. Each dish was carefully designed and executed, with a lot more thought and subtlety than my descriptions above give credit for. The wine glasses were very good. They use Riedel glasses, and the Beck Ink was served in what I would guess was the Restaurant range Pinot Noir. It does make a big improvement to the experience of drinking wine compared to what you get with the dire quality of glass you get in the vast majority of British restaurants, even ones with fine-dining pretentions.

I have only one general criticism: there were no starchy carbs in the entire menu. So don’t arrive too hungry. But it is not just a question of filling the belly. To my mind carbs are necessary to provide balance. Pitta bread with the chickpeas would have added contrasting texture if nothing else. And a few chips with the duck would not have gone amiss. If you are trying to be virtuous you don’t have to eat them. Nevertheless, a very good standard overall, and good value at £25 for the 4 courses.

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Josmeyer Mise du Printemps – Alsace Pinot Blanc

mise-du-pintempsSo often, wine conforms to expectation – perhaps that is simply what the wine is like, or maybe that we can be too blinkered. But sometimes our expectations are given a jolt. Pinot Blanc is at best neutral and refreshing, right? Merely an inexpensive food-friendly wine? Well, no, not always. With memory jogged by my tasting note database, I can think of as many as… let me see… four exceptions from personal experience: Kuentz-Bas 2004 (appley and floral), the English wine Stopham Estate 2013 (gooseberry and herbs), Weinbach Réserve 2008 (for all the world like a botrytised Pinot Gris), and finally, the subject of this blog post.

The full name on the label is a bit of a mouthful, and it is difficult to know the intended order of reading, but it is perhaps Josmeyer, Mise de Printemps, Vu par Isabelle, Le Pinot Blanc, with the appellation of plain Alsace. Prices in the UK seem to vary from £12 to £22, which IMO is the difference between excellent value and barely worth it.

I have tried the 2014 and 2015, both within a year of their release. My brief tasting note for the 2014 indicated medium acid, dry, intense, citric, with fennel seed and mushroom. For the 2015… Pale greeny gold. Intense on the nose. Sharp fresh apricot. Orange and lime. Primary, but complex and mouth-watering. High acidity and dry. Palate aromatics as nose. Hugely powerful and intense, and exceedingly long. Someone else said savoury and meaty, and I could just about understand that, but doubt I would have come up with it unprompted. Drink now I think, but it might be interesting to see how it ages. A lot better in my opinion at a coldish fridge temperature than when allowed to warm a little in the bottle *****

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Sherry – book review

sherry julian jeffsThis is a review of the 6th Edition of Sherry by Julian Jeffs. I have a review copy of the paperback, published by Infinite Ideas earlier this year with an RRP of £30.00. I think the hardback version of this edition came out a couple of years ago. It has 262 pages and, like other books in this Classic Wine Library series, the general design and physical impression is good. Black and white illustrations are scattered throughout the book, including a map of the Sherry region. There is also a small collection of colour plates bound together in the middle of the book.

I already owned the 5th edition, and my first comment would be that the updates are relatively minor, so I wouldn’t recommend buying the 6th edition if you already have the 5th. In addition to making the book look a lot more modern and a number of editorial changes, the updates I spotted are: Equipo Navazos gets a few lines, as do a few other newer bodegas, and the Brandy de Jerez chapter has been ditched. Beware though, as The Twentieth Century chapter has been renamed The Twentieth Century and Beyond, but it doesn’t go very much “beyond” at all. While very limited, the updates are all welcome, and make the book generally more attractive. Regarding the mapping though, two very hard-to-read maps in an antiquated style have been replaced by one modern map that is even harder to read. Map regions are indicated by shading in white and four shades of grey, for three soil types, where the vineyards are, and something else. My issues are a) I cannot always tell which shade of grey is which, b) I have no idea what the “something else” is, but can only presume it is not relevant to Sherry, and worst of all c) the apples-and-pears colouring scheme makes it impossible to know what soils the vineyards are on, which is what you are most likely to want to know from such a map. Sometimes I despair – maps are meant to convey information, not act merely as decoration. Rant over.

On the positive side, I must say that this is probably the best specialist (as opposed to The Oxford Companion, for example) wine book I have read. It is a true classic of The Classic Wine Library. It is written well, and oozes authority that is backed up by a comprehensive section of sources and bibliography. Apart from the appendices and a section that gives a paragraph on each of the shippers, the book is roughly evenly split between history and production methods. There is no space given to tasting notes, which you may or may not see as an advantage. Whichever side of the fence you take, it is probably something that has allowed the book to work well across several editions.

But what about the excitement felt for Sherry by contemporary wine lovers? You cannot find it in Jeffs’ book. Even in the provincial North of England, where Sherry bars have not yet made much of an in-road, there are many enthused drinkers of Sherry in my circle of wine buddies. It is common to kick off an evening with a glass of Sherry, and sometimes to drink it at some point in the meal. Also perhaps a few sentences on en rama Sherry, currently gaining in popularity, would have been a good idea. Rama has an entry in the glossary (in the 5th edition too), where it is defined as wine bottled from the cask without further treatment. But that is the only mention I noticed and, even if strictly speaking the definition is correct, it is not necessarily what you always get if en rama is on the label. But maybe all this trendy stuff is a mere blip in the world of Sherry, and the weight of history, and large body of conservative imbibers, justifies its omission. If so, then there is definitely room for another more ephemeral Sherry book.

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Madeira: The islands and their wines – book review

madeira islands winesThe book is Madeira: The Islands and their wines by Richard Mayson. If you are expecting a wine book, don’t worry about the subtitle: apart from brief sections on tourism, it is actually about wine. The RRP is £30.00, but I was given a review copy. It is the paperback version, published by Infinite Ideas earlier this year, with 268 pages and, like other books in this series, the general design and physical impression is good. Black and white illustrations are scattered throughout the book, mainly old engravings, but also some label images, and a map of the island. While not terribly detailed, the map is up to the task of identifying the regions discussed in the text. There is also a small collection of colour plates bound together roughly in the middle of the book. Sidebars (if that is the right term when the text goes the full width of the pages) are used in many places, usually to good effect. Though I failed to understand their place in the Vintage Madeiras and Historic Wines chapter, where the content was exactly the same as the main text – here they just served to confuse by unnecessarily breaking the helpful structure of the chapter. The structure was also initially a bit confusing as the first Madeira collection mentioned in the chapter happened not to have any tasting notes associated with it, but that is a different issue.

The timing of publication is important for this book, as a raft of new regulations and definitions relating to Madeira wine came into force in 2015. I am not sure to what extent they were adequately dealt with in the 2015 hardback edition of this book, but they are certainly covered in the paperback, and this in itself might be reason enough for Madeira enthusiasts to get hold of a copy. It also becomes clear from reading this book that in the last 15 years or so there have been many initiatives to improve Madeira quality and the standards of record-keeping, imposing more order on what was very chaotic production. Again, anyone with a serious interest in Madeira will find it convenient to have all these developments gathered together here. Personally I write as someone who also owns, and has great respect for, Alex Liddell’s 1998 book, Madeira published by Faber and Faber, but it is now woefully out of date if you look to it for a picture of contemporary Madeira. Without wanting to criticise either writer, I feel Liddell is more academic, while Mayson is briefer and perhaps more accessible to a modern audience. I am now motivated to reread Liddell sometime.

Mayson covers his ground well, with chapters on Madeira history, geography, vineyards, production and producers. The chapter on producers also includes tasting notes on selected wines that are currently readily available from each one. In a separate chapter there are also nearly 100 pages – over 35% of the whole book – devoted to the tasting notes of old Madeiras, many from the 18th and 19th centuries, and notes about the collections from which they originated. The chances of me ever getting an opportunity to try any of these wines is practically zero, which means my interest in them is very limited, and I would question the wisdom of devoting so much space to these wines. Not that I am averse to a good vintage Madeira, but old for me in practice means mid-20th century. The main thing I learned from the chapter was that, if you take Mayson’s star ratings at face value, you can get Madeira of equal quality for a lot less money if you look to the colheita wines currently available from the producers, and wines with older age indications.

There were a few places in the book that seemed unclear or confusing, which left me feeling I’d like to ask the author, or his sources, for clarification. But to an extent I suppose Madeira is still essentially rather confusing, and at least I felt engaged enough to care. One example was the statement that “Older vineyards are supported on latadas, low pergolas about a metre or so in height, under which other crops such as potatoes, cabbages and beans are frequently grown”. Wow, I thought, that is very low and it must be a real pain to work on the vines – not to mention the vegetable patch! Can it really be true? This was followed by a quotation from an 18th century description that I found difficult to understand completely, but laths 7 feet high were mentioned. Also colour plates purported to show latadas growing over trucks and the heads of people. I resolved this issue by referring to Liddell’s abovementioned book, and learned that latada heights vary: over paths and around houses you can walk under them, whereas in other places they are usually 1 to 1.5m high.

Despite any niggles, and with the exception of the vintage wine tasting notes which I largely skipped, I enjoyed reading this book and learned a lot, especially about the more recent changes on the Island.

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Winenous’ fables #1: The Naoussa and the Burgundy

On the face of it, this is a simple story of two tasting notes, linked only by the wines’ having been tasted and drunk within a couple of days of each other. But there is a sting in the tail, and a moral.

Naoussa PDO, Greece, 2011
Medium pale tawny garnet. Nose: Intense. Dark fruit with a slight caramel nature. Mature notes. High-toned with violets. Rose. Herby, vegetal and savoury. Edgy licorice. Complex. Very attractive. Palate: Medium high acidity. Medium high astringency. Coarse in a good way – like a thin paste, or fine coffee grounds. As nose, but with more emphasis on the high-toned aspect. And something more savoury or meaty – crispy bits on the side of a roast. All in balance. Elegant, and not hugely intense on the palate. Excellent length. Refreshing, savoury, slightly bitter finish. Not a stunning wine that whacks you round the face, but it hits the spot. Drink now in my book, but good for another 5 years at least. Great with steak, also with Middle Eastern food. Also tried the day after opening, and it had not changed much ******

Premier Cru Burgundy, 2000
Nose: Pale tawny garnet. Huge nose, but rather too oaky for my liking. Warming, complex. Mature Burgundy lurking there somewhere. Palate: Medium high acidity. Smooth, gentle, ethereal. Merest hint of astringency. Oaky, yes, but the fruit comes through more on the palate. As mentioned before, warm, complex and mature. Still good Pinot fruit though, with delicate fragrance. Excellent length, with refreshing fruity finish. Oak got more obtrusive on the palate as the wine warmed throughout the evening. Drink now *****

So, two wines that I liked a lot, though I definitely preferred the Naoussa, produced by Boutari, which was the cheaper wine. I gave it my maximum score, which might seem over-the-top, but I reached the same conclusion on two occasions. I bought the Boutari Naoussa earlier this year from Booth’s Supermarket, when there was a 2 for 3 offer and 5% half-case discount, for £6.97. Full price was £11.00.

The Burgundy was considerably more expensive. In 2007 when I bought it, The Wine Society said its conservative market value was £75, but I got a 25% discount on that as I bought it in a mixed case, so I paid £56.25. Looking back on my tasting note, I wonder if my score was on the high side, as a result of being influenced by the high price. But despite its oakiness, I did think it was very classy and elegant.

But the scores not being reflected in that price difference is not the sting in the tail: a price difference of a different order of magnitude was the culprit. The Burgundy was Armand Rousseau’s Gevrey-Chambertin 1er Cru Clos St Jacques and I checked current price on Wine-Searcher (after writing my tasting note). The asking price from the only listed UK merchant selling 75cl bottles was £640 (SIX HUNDRED AND FORTY QUID). That’s over 10 times what I paid for it, and about 100 (ONE HUNDRED) times the price of the Naoussa. And the bottle price of £640 might be regarded as a bargain, as another merchant was wanting £1,928 for a magnum.

burgundy naoussaAnd the moral? Well there are actually a number that spring to mind. The first one that occurred to me was “if you are going to check the current market price of a decent wine made by a famous name, do it BEFORE you open the bottle”. On later reflection the most screamingly obvious ones were “buying decent Burgundy is now a mugs’ game”, and “the Boutari Naoussa is a great wine that you really need to try”. I am sure there are also deeper morals lurking, on the subjects of price, value and quality, but I’ll let you figure them out for yourself. And feel free, if you must, to moralise about my plebeian taste – I can take it.

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The Wines of Austria – book review

the wines of austria bookThis is The Wines of Austria by Stephen Brook, a new book published by Infinite Ideas earlier this year. The RRP is £30.00, but I have a review copy. It’s a paperback of 294 pages, with black and white maps in the text, and several colour plates gathered together in the centre of the book. Like other books in this series, the general design and physical impression is good. As often the case with wine books, I found the maps disappointing, but I know good cartography is expensive and they are better than nothing. My only other criticism at that sort of level is the lack of a complete index – there is an index, but for wineries only. There is also a glossary, but that did not have an entry for the wine style I needed reminding about while reading.

This is a book that contains a lot of detail, and relatively short introductory chapters and sections, which made it heavy-going for me as a reader with no claim to any specialist knowledge of Austrian wines. It does not however lack clarity – indeed Brook writes very well. It is just that for someone who does not already have sufficient knowledge to hang the many facts on, the sheer number of different regions, sub-regions and producers is difficult to take in. Someone with more prior knowledge would doubtless get more out of the detail, but I decided that for my purposes it is a work of reference rather than a book to actually sit down and read over a few days.

I must admit though that I struggle to image how the book could be improved on from my perspective. At the risk of causing offense to Austria and lovers of her wines, I’d venture that part of the problem is that the history of Austrian wine as an international product is relatively brief, so there is not so much that can be written about historical context – compared with Port, Sherry, and Madeira to mention of vinous topics of other books in this series. The other sort of context useful for the organisation of knowledge is geography. Seeing precisely where villages, vineyards and producers are, down to the level of vineyard slope orientation, greatly helps, and I suppose that comes back to my point about the inadequacy of the maps.

So, an excellent reference book, and probably an excellent read if you already have a special interest in Austrian wines. For the more general wine lover there is still much to be gained from the book – I certainly learned quite a bit – but I suspect that much of it will remain unread on the first pass through.

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