Wine Tasting

A Professional Handbook

Ronald S. Jackson

• Publisher: Academic Press
• Year: 2016
• ISBN:
  9780128018262
• Edition: 3
• Topic: Technology & Engineering
• Subtopic: Food Science
• Index: Technology & Engineering

From OIV-award-winning author, Ronald S. Jackson, Wine Tasting: A Professional Handbook, Third Edition, is an essential guide for any professional or serious connoisseur seeking to understand both the theory and practice of wine tasting. From techniques for assessing wine properties and quality, including physiological, psychological, and physicochemical sensory evaluation, to the latest information on the types of wine, the author guides the reader to a clear and applicable understanding of the wine tasting process.

With its inclusion of illustrative data and testing technique descriptions, the book is ideal for both those who train tasters, those involved in designing wine tastings, and the connoisseur seeking to maximize their perception and appreciation of wine.

• Contains revised and updated coverage, notably on the physiology and neurology of taste and odor perception
• Includes expanded coverage of the statistical aspect of wine tasting (specific examples to show the process), qualitative wine tasting, wine language, the origins of wine quality, and food and wine combination
• Provides a flow chart of wine tasting steps and production procedures
• Presents practical details on wine storage and the problems that can occur both during and following bottle opening

Chapter 1

Introduction

Abstract

Wine tasting refers to a range of procedures, from those intended to enhance appreciation, rank wines relative to their quality, or describe their sensory attributes in relatively objective terms. Thus, wine tasting can vary from actions as simple as a short sniff and sip, to extended sensory analyses lasting up to a half an hour or more. Because of their diversity of purpose, how tastings are conducted can vary extensively.

The particular procedure described below assesses the totality of a wine’s sensory attributes. Although most applicable to critical sensory analysis, wine consumers can equally use the procedure to maximize their appreciation of fine wines. The one caveat is that the process highlights not only the wine’s most exemplary sensory qualities but also any sensory deficits and faults the wine may exhibit. This is especially true if the tasting is conducted in a manner avoiding all psychological biases; that is, tasted “blind” and in black glasses. Correspondingly, most tastings are conducted with the full knowledge of the wine’s origin and often under conditions designed to generate a positive impression.

Keywords

Tasting process; wine appearance; wine flavor; wine taste

Introduction

As befits one of life’s finest pleasures, wine merits serious attention. Nevertheless, no tasting procedure has achieved universal adoption. Most experienced tasters have their own preferred method. Although essential for critical tasting, detailed sensory analysis is too elaborate for most consumers. The difference is somewhat analogous to analyzing a musical score versus attending its performance. Critical tasting compares one or several wines against real or memory-derived archetypical standards. In contrast, wine with a meal is designed to be savored as its liquid accompaniment. Critical wine assessment is also ill designed for the dining room, due to its social and epicurean distractions. Nonetheless, even here, periodic concentration on a wine’s attributes can reward the diner with enhanced consciousness.

Tasting Process

The procedure outlined in Fig. 1.1 is a synthesis of views going back centuries, as well as experience gained from assessing tasters. The first known recorded description of studious wine tasting is noted in Francese Eiximenis (1384). Interestingly, the commentary is disparaging, comparing the procedure to how physicians of the time analyzed their patients’ urine. Although no procedure is ideal for everyone, or under all situations, Fig. 1.1 provides a reasonable starting point. Probably the most essential requirement is the willingness, desire, and ability to focus attention on the intrinsic attributes of the wine itself, with a minimum of extrinsic information that might skew perception. Tasting with black International Standards Organization (ISO) glasses (Plate 6.1) is ideal for hiding visual details that can distort perception (e.g., features suggesting varietal or geographic origin, or wine age). This does delay appreciation of the wine’s countenance, but it forces the taster to concentrate on the wine’s essential sensory properties.

Figure 1.1 Sequence of wine tasting.

Peynaud (1987) advocated rinsing the mouth with a sample of the wines to be tasted before embarking on a dedicated assessment. Where the wines are unfamiliar, this could familiarize the tasters’ to the wines’ basic attributes. However, under most circumstances such a practice seems ill advised, as it is preferable to sample each wine unfettered by expectations. Peynaud also cautions against rinsing the palate between samples. He feels that this could alter sensitivity and complicate assessment. In this recommendation, he is at variance with essentially all other authorities. Only when the palate seems fatigued does he support palate cleansing. Peynaud’s view assumes that tasters can perceive accurately when their senses have been or are becoming adapted, a dubious supposition. Most data would suggest it is preferable to encourage tasters to cleanse their palate between samples, to avoid, as much as possible, adaptation altering perception. Ideally, this should permit each wine to be assessed under uniform conditions. Nonetheless, when sampling very complex wines (e.g., vintage ports), olfactory adaptation can be of value. It can result in the “unmasking” of aromatic compounds whose presence was undetectable before adaptation to more potent flavorants (Goyert et al., 2007). Tasting over a prolonged period offers the chance to detect both quantitative and qualitative changes in fragrance throughout a tasting, as the composition of the headspace gases above the wine fluctuates dynamically. This can occur both in-glass and in-mouth. The understanding of this fascinating phenomenon is still in its infancy (Brossard et al., 2007; Baker and Ross, 2014).

Under most critical assessment conditions, wines are sampled using clear, tulip-shaped goblets, such as the ISO wine-tasting glass (Fig. 1.2; Plate 5.13 left). The primary exception involves sparkling wines, where flutes permit detailed analysis of the wine’s effervescence (Plate 1.1), or simply scintillate the senses as these sprightly sparkles shimmer their way to the surface. However, because of the flute’s narrowness, and a tendency to fill the glass to near the rim, effective swirling of the wine and concentration of its fragrance above the wine is prevented. However, these features are partially compensated by bubbles bursting as they reach the surface (Plate 1.2). They propel thousands of minuscule wine droplets into the air, and thereby enhance volatilization of the wine’s aromatics.

Figure 1.2 International Standards Organization (ISO) wine tasting glass. Dimensions are in mm. Source: Courtesy of International Standards Organization, Geneva, Switzerland.

Plate 1.1 Illustration of the effervescence attributes of a sparkling wine in a flute. Notice the cordon de mousse around the edge of the glass. Source: Photo courtesy of R. S. Jackson.

Plate 1.2 The surface discharge resulting from the bursting of bubbles from a flute containing champagne. Source: Photo courtesy Collection CIVC Copyright Alain Cornu.

All glasses in comparative tastings should be identical, made of crystal-clear glass, and filled to the same height (about one-quarter to one-third full). This facilitates each wine being sampled under equivalent conditions. Between 30 and 50 ml is adequate for most assessments. Not only are small volumes economical, but they also facilitate holding the glass at a steep angle (for viewing color and clarity) and permit vigorous swirling (to enhance the release of aromatics). Only under conditions where color differences between the wines are sufficiently marked as to potentially prejudice the perception of the wine’s fragrance and flavor should the wines be served in black glasses (or under low-intensity, color-distorting, red illumination.)

Appearance

As noted above, except in situations where appearance might unduly bias the assessment, the wine’s visual attributes are the first evaluated. To improve light transmission, the glass is usually tilted against a bright, white background (35° to 45° angle). This produces a stretched arch along the far side of the glass and varying depths of wine through which its visual attributes can be viewed.

A wine’s countenance is typically studied simply as a source of pleasure, but can also provide clues as to other sensations to follow. Although a harbinger, particular colors do not always correlate with experience-based expectations. Thus, color can be a source of bias, often prejudicing a taster’s perceptions, depending on their experience. Nonetheless, certain aspects of a wine’s appearance may foretell the presence of particular off-flavors. Albeit an indicator, color should not unduly prejudge a wine. Assessment should be based on a full and honest evaluation of all of a wine’s sensory characteristics.

Clarity

All wine should be brilliantly clear, the only exception being barrel samples tasted in a winery cellar. Some turbidity can be expected in a still-maturing wine. Cloudiness in bottled wine is always considered a fault, despite it seldom affecting the wine’s taste or aromatic character. Because most sources of cloudiness are understood and controllable, crystal-clear clarity is now the norm. Even sediment in well-aged red wines is now relatively rare. Its disturbance and resuspension can by avoided by careful transfer of the bottle to the table, followed by slow and careful decanting.

Color

The two most significant features of a wine’s color are its hue and depth. Hue denotes its shade or tint, whereas depth refers to intensity. Both aspects can provide clues relating to features such as grape maturity, duration of skin contact, oak cooperage exposure, and wine age. Immature white grapes yield almost colorless wines, whereas fully mature to overmature clusters can generate yellowish wines. Extended maturation on the vine may, but not consistently, enhance the potential color intensity of the grapes, and therefore both white and red wines. The extent to which these tendencies are realized largely depends on the duration of maceration (skin contact) before or during fermentation. Maturation in oak cooperage favors age-related color changes, as well as an initial enhancement in color depth. During aging, golden tints in white wines increase, whereas red wines lose color density. Eventually, brownish shades develop in all wines.

Because so many factors can influence color expression, it is difficult to be dogmatic about the significance of any particular shade. Only if the wine’s origin, style, and age are known, may color suggest “correctness.” An atypical color can be a sign of several faults, but not diagnostic of any by itself. The less known about a particular sample, the less value color becomes in assessing quality.

Tilting the glass has the advantage of creating a gradation in wine depths. Viewed against a bright background, the variation in depth provides a range of hues and density attributes. Pridmore et al. (2005) give a detailed discussion of these phenomena. Tilting can also be used in spectroscopically analyzing a wine’s color (Hernández et al., 2009).

The rim of the wine generated on tilting provides one of the better measures of a wine’s approximate age. A purplish-to-mauve hue is an indicator of a red wine’s youth. By contrast, a brickish tint in the same zone is often the first indicator of aging. The best measure of color depth is obtained by looking down from the top of the glass.

The most difficult task in assessing wine color is expressing these impressions meaningfully. There is no accepted terminology for wine colors. The Munsell Color System exists, but is neither readily available nor particularly applicable. CIELAB color coordinates are scientifically useful in comparisons, but are essentially meaningless in expressing color in a manner that is applicable to tasting wine. Thus, color terms are seldom noted in a consistent or effective manner. Some tasters place a drop of the wine on the tasting sheet. Although this is an attempt at being objective, it does not even temporarily preserve an accurate record of the wine’s color.

Until an effective, practical, wine-color standard is developed and widely accepted, the use of a few simple terms is probably the best that can be achieved. Terms such as purple, ruby, red, brick, and tawny for red wines, and straw, yellow, gold, and amber for white wines tend to have commonly accepted meaning. Combining these hue terms with qualifiers for color d...

Table of contents

• Cover image
• Title page
• Table of Contents
• Copyright
• Dedication
• Preface
• Acknowledgments
• Chapter 1. Introduction
• Chapter 2. Visual Perceptions
• Chapter 3. Olfactory Sensations
• Chapter 4. Oral Sensations (Taste and Mouth-Feel)
• Chapter 5. Quantitative (Technical) Wine Assessment
• Chapter 6. Qualitative Wine Assessment
• Chapter 7. Styles and Types of Wine
• Chapter 8. Nature and Origins of Wine Quality
• Chapter 9. Wine and Food Combination
• Glossary
• Index