Wine & Viticulture Journal

MARCH/APRIL 2013 · Volume 28 Number 2

LOW & REDUCED ALCOHOL WINE

• Making low alcohol wine with inherent attractiveness intact• Can the production of low alcohol wines start in the vineyard?

• Regional focus: Clare Valley• Tasting: Low & reduced alcohol wine

• Profile: Brother John May

WineEng 2013

NATIONAL CONFERENCE & EXHIBITION

For further informationvisit www.wea.org.au

or contact Trevor Leighton

0417 597 [email protected]

Tastes for the Future

SERAFINO WINERY, McLAREN VALE | JUNE 5th & 6th 2013

winetechexpo.com.au

15 – 17 JULY 2013SYDNEY CONVENTION & EXHIBITION CENTRE | NSW

PRESENTED BY: ORGANISED BY:

What if you could...• Be part of Australia’s largest wine exhibition featuring 150+ suppliers

• Network with 1,500+ grapegrowers, winemakers and industry professionals

• Join 1,000+ conference delegates to keep abreast of current trends It’s all possible at WineTech 2013

Australia’s premier showcase of wine technology, equipment and services.

EXHIBITOR ENQUIRIES call Guy Freebody on 02 9422 2568

VISITOR REGISTRATION opens April 2013

4 www.wineb i z .com.au Wine & Viticulture Journal MARCH/APRIL 2013 V28N2

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EditorSonya LoganPh (08) 8369 9502 Fax (08) 8369 9501Email [email protected]

Associate EditorsGary Baldwin Peter DryMark Krstic Armando CorsiMarkus Herderich

EDITORIAL ASSISTANCELauren Jones, Write Lane

CONTRIBUTING WRITERSGary Baldwin Johan BruwerPhilippe Darriet Martin DayPeter Dry Paul EvansRichard Gawel Rachel GoreSteve Guy Richard HalsteadMarkus Herderich Tony HoareCathy Howard Dan JohnsonMichael Jourdes Tony KeysEd Merrison Carmen C. MoranLinda Ovington Paul PetrieMark Rowley Anthony SalibaAlex Schulkin Maria A. SilvaMark Smith Paul SmithPierre-Louis Teissedre Corrina Wright

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SubscriptionsOne-year subscription (6 issues)Australia $77.00 (AUD)Two-year subscription (12 issues)Australia $144.00 (AUD)To subscribe and for overseas prices, visit:www.winebiz.com.auThe Wine & Viticulture Journal is published bi-monthly. Correspondence and enquiries should be directed to Sonya Logan.The views expressed in the Journal are those of the authors and do not necessarily refl ect the opinions of the Journal or its staff.

We’re not ones for blowing our own trumpet. Well, rarely perhaps. But, this issue of the Journal most certainly

calls for some self-blowing trumpeting. This issue contains what is quite likely the

biggest collection of articles on the subject of low alcohol wine in a single publication! One only need turn to page 12 for the fi rst of these articles, where our regular columnist, Tony Keys, writes about the growing popularity of low alcohol products among consumers and the proliferation of new products to the category.

Next up we have Wine Network Consulting’s Gary Baldwin, who delves into the pros and cons of the various methods currently available to winemakers to produce lower alcohol products (page 19).

Drawing on the presentation he delivered to the Crush symposium held in Adelaide late last year, viticulture consultant to the Australian Wine Research Institute, Peter Dry, summarises the latest research into the possibility of achieving low alcohol wines through vineyard management (page 40).

Regular Journal contributor Cathy Howard follows with a look at some of the low alcohol products on the market and fi nds out what is driving their making and how they are being marketed (page 55).

Drawing on another presentation delivered at last year’s Crush symposium, researchers from Charles Sturt University and the National Wine and Grape Industry Centre report on their fi ndings into the potential of the domestic market size for low alcohol wine (page 58). Looking to the UK, Richard Halstead, of Wine Intelligence, looks at the market for low alcohol wine in that country and its challenges (page 62).

And, last but not least, Mark Rowley looks at the trend in the volume of lower alcohol wines in Australia’s export mix - an analysis he believes is unlikely to have been done before (page 63).

And let us not forget our tasting of low alcohol wines starting on page 80.

If you’re thinking about making low alcohol wines, keep this issue handy folks. You’d be hard-pressed to fi nd a better current authority on the subject in the one place.

News 6Wine Australia 9WFA 10ASVO 11Tony Keys 12

AWRI Report 34Alternative Varieties 53Industry profi le 70Regional report 72Tasting 80

ReGuLAR FeAtuRes

Cover: Jesuit Winemaker Emeritus Brother John May, of Sevenhill Cellars, in South Australia’s Clare Valley, recently celebrated 50 years since arriving at the winery. Journalist Mark Smith travelled to Clare earlier this year and caught up with Brother John. His profi le on Brother John’s career can be found on page 70, which kickstarts this issue’s regional report on the Clare Valley region. Photo: Sevenhill Cellars/Don Brice.

Sonya Logan, Editor

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V28N2 Wine & Viticulture Journal MARCH/APRIL 2013 www.wineb i z .com.au 5

I n t H I s I s s u e C o n t e n t s

R e G u L A R F e At u R e s

9 WINE AUSTRALIA (Steve Guy): Navigating the China market: the opportunities and the challenges

10 WFA (Paul Evans): Profitability and health our two immediate priorities

12 KEY FILES: Into the light: The increasing popularity of low alcohol wines

W I n e M A K I n G

19 Making low alcohol wine with inherent attractiveness intact

26 The advantages of crossflow filtration becomes clearer for smaller producers

30 The scalping of light volatile sulphur compounds by wine closures

34 AWRI REPORT: The science of texture

V I t I C u L t u R e

40 Can the production of low alcohol wines start in the vineyard?

44 Hangtime – optimising harvest timing: Part 1

49 Sauvignon Blanc gets the chop

53 ALTERNATIVE VARIETIES: Savouring Sagrantino

R e G I o n A L R e P o R t

72 Clare Valley, South Australia

W I n e t A s t I n G

80 Low alcohol wine

busIness & MARKetInG

55 Lightening up in our approach to wine

58 Consumer attitudes to low alcohol wine: an Australian sample

62 WINE INTELLIGENCE: 2013 – the year of the lower alcohol wine?

63 Market analysis for lower alcohol Australian wine

65 The sticking points of labelling

70 Brother John May: Sevenhill blends tradition with cutting edge

P R o F I L e

I n D u s t R Y e V e n t s

16 INTERNATIONAL PINOT CELEBRATION: Celebrating the evolution of Mornington Pinot


n e W s

A comprehensive study into where future demand opportunities lie for the Australian wine industry and how they might be captured has begun under the guidance of the

Winemakers’ Federation of Australia (WFA). The $250 million review is being largely funded by equal

contributions from the Grape & Wine Research & Development Corporation and the Wolf Blass Foundation with the balance provided by the WFA.

Expected to take six months, the review aims to build on the industry’s existing knowledge behind the lack of profitability in the sector, particularly the information generated through the development of Directions to 2025 and the Wine Restructuring Action Agenda.

Paul Evans, chief executive of the WFA, said much of what the industry had previously learned needed updating given the changes that have taken place in Australia’s wine markets and its competitor industries following the global financial crisis.

The review will involve one-on-one interviews with industry stakeholders of various sizes and include an analysis of current and potential profitability across the Australian wine industry, investigate demand opportunities across key markets, reconcile the profile of domestic supply against projected demand, explore the price elasticities of key markets and examine the impact of market ‘distortions’ such as exchange rates, taxation arrangements and the highly consolidated domestic retail sector.

The WFA’s review will be assisted by the input of economists from Centaurus Partners, Wine Australia, Nielsen and Wine Grape Growers Australia.

Evans said the WFA had managed to secure the assistance of outside experts at a “serious discount” which would deliver “intellectual expertise that would normally be out of reach of the industry”. “This is a unique aspect of this review,” he said.

Wolf Blass said he was “absolutely delighted” about the partnership.

“In order for the industry to partake in a revitalisation it needs to know where it’s been, where it is now and where it’s going in the future. I love the industry and I believe in it. We have to put Australia back on the map where it was a couple of years ago,” Blass said.

Project to delve deeper into future profitability of industry

Winemakers’ Federation of Australia president tony D’Aloisio (front left) and industry icon Wolf blass (front right) with (back, from left) WFA chief executive Paul evans and Wolf blass Foundation trustees David Robinson, stephen Millar and Paul Clancy.

A review of the UK’s online wine market from both a retailer and consumer perspective has been commissioned by Wine Australia with the aim of identifying new opportunities for Australian wine producers to grow their business within the sales channel.

The study will be led by the Wilson Drinks Report (WDR), which has been providing Wine Australia with independent insights into the UK wine market for a number of years, and will combine both analysis of the UK online market with WDR consumer research. There will also be a program of focus groups, led by Axis Management Consulting, involving key consumer segments who buy wine online.

The research project will be primarily funded by the Grape and Wine Research and Development Corporation (GWRDC).

“The UK remains one of the biggest and most important markets for the Australian wine category. This project aims to provide deep insights into the online channel in the UK and identify the opportunities for the profitable and sustainable growth of Australian wine sales in the UK,” said Peter Bailey, wine sector intelligence manager for Wine Australia.

Yvonne May, Wine Australia’s UK/Ireland/Europe regional director, added: “Even though the UK online market appears to be one of the best growth opportunities for Australian producers, there are few reliable and robust insights about how consumers buy wine online. This project will give us the chance to take the lead in helping our producers work with online retailers to build profitable growth.”

Tim Wilson, managing director of the Wilson Drinks Report, said the online sector had reached a tipping point where shopping online had become the norm for many British consumers.

“Australian wine is a perfect product to sell online, as it is reasonably high value and there is a strong story to tell about the wide variety of styles and price points. Our objective is to pinpoint the best opportunities for Australian producers,” Wilson said.

Jonathan Smith, managing director of Axis Management Consulting, said his company’s involvement in the project was aimed at understanding more about how people shop for wine online to enable increased online sales of Australian wine.

The results of the project are due to be released midway through this year.

Wine Australia puts UK’s online wine market under the spotlight


n e W s

The Australia wine industry’s triennial exhibition of oenology products and services, WineTech, will be held at the Sydney Convention & Exhibition Centre from 15-17 July.

The return of the event to Sydney after more than a decade has been welcomed by the NSW Wine Industry Association (NSWWIA).

NSWWIA president David Lowe said: “Australia must regain its international reputation for innovation. Sydney will be the

place where we can hear how to regain the edge.”

Nina Vidale, event manager for WineTech 2013, said WineTech was a forum that brought winemakers and grapegrowers together to discuss common interests and new ideas, exposing them to new products and services that help boost their results.

“Above all, WineTech enables the industry to source and invest in new technologies,” Vidale said.

She said some of the industry’s leading

companies – Classic Oak, Pellenc, DT Pacifi c and Winequip – had already secured space at the exhibition, with most of the available space already allocated.

WineTech will be held in conjunction with the Australian Wine Industry Technical Conference.

Companies interested in exhibiting at WineTech should contact Guy Freebody: [email protected].

For further information about WineTech 2013 visit www.winetechexpo.com.au.

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Tasmanian Premier Lara Giddings has launched a $1.2 million program to expand production and create jobs in

the Tasmanian wine industry.The funding is designed to support

existing wine producers already planning expansion to capitalise on demand for their premium wines.

“We have a vision to quadruple wine production over the next decade and this program will help that vision become a reality,” Giddings said. “It will also generate an estimated $10 million in private investment and create more than 370 jobs plus a further 100 shorter-term planting positions.

“Tasmania has a growing reputation for

producing great wines. Yet we still have less than one percent of Australia’s total hectares under vine - currently just 1600 hectares - and produce less than half-of-one per cent of the national grape crush,” she said. “The industry needs to expand to achieve economies of scale and reliability of volumes.”

The wine industry has been identifi ed as a key sector in the Tasmanian Government’s economic development plan.

“The economic development plan is about identifying and playing to our state’s natural strengths and the wine industry is a perfect example of that,” said the state’s Minister for Economic Development, David O’Byrne.

The Tasmanian wine sector has welcomed the funding.

“The Tasmanian Government initiative is targeted at wine producers that have already heavily invested in their vineyards, infrastructure and marketing, supporting them to grow and meet demand for their premium cool climate wines,” explained Wine Tasmania’s chief executive Sheralee Davies.

“Growing grapes and making wine is capital intensive, with many years before any return on investment. This program provides support for wine producers in the initial period before new vines are producing fruit and therefore income,” she said.

Tasmanian wine industry welcomes government vineyard expansion funding

WineTech 2013 just weeks away


Long-serving Australian wine researcher and educator, Bryce Rankine, has died in Adelaide, aged 87.

Born in Murray Bridge, South Australia, in 1925, Rankine began his career in the wine industry in 1950 as a research officer in the Oenological Investigations Section of CSIRO at the Waite Agricultural Research Institute in Adelaide.

Out of this section was formed the Australian Wine Research Institute (AWRI) in 1957 which, together with John Fornachon, he helped set up. Rankine then spent the next 21 years mainly as officer in charge of technical services at the AWRI.

In 1978, he moved to Roseworthy Agricultural College where he became principal lecturer, then head of the school of oenology and, finally, dean of the faculty.

He officially retired in 1986 but was then invited by Len Evans and Brian Croser to establish the Australian Society of Wine Education. This he did, serving as its executive director, before retiring again in 1995.

Rankine was also the author and co-author of several books, including ‘Making Good Wine’, which would be familiar to many in the wine industry, the ‘Evolution of the Modern Australian Wine Industry — A Personal Appraisal’, published in 1996, and ‘Cooperage for Winemakers’.

Former lecturer in chemistry and viticulture at Roseworthy Agricultural College and The University of Adelaide, Patrick Iland, said that when Rankine came

to Roseworthy, he had already established a national and international reputation from his work at the AWRI and was regarded as one of the world’s leading wine research scientists.

“I had not met Bryce in his AWRI days but knew of him from his technical and research papers, his presentations at industry seminars and the stories of his achievements from fellow staff. We used many of his technical articles in the practical classes. I remember meeting him at morning tea in the tearoom in the cellar of the winery — Bryce always came to the tea/lunch room at morning tea and lunch during his time at Roseworthy. I remember he said something to the group like, ‘it’s important to know what is going on in the industry’. One of Bryce’s strengths was his strong, personal connection with many people in the wine industry.

“During his time at Roseworthy, Bryce led the planning and implementation of the new viticulture and wine courses, strengthening the science but retaining the practical focus. He was highly respected in international wine circles and his presence as a speaker at international conferences promoted the profile of the Roseworthy wine courses.

“During Bryce’s time many international visitors came to Roseworthy and he always made sure that the staff and students met and spent time with them. This was very much appreciated by both staff and students.”

The AWRI’s viticulture consultant and former Roseworthy and University of Adelaide lecturer and professor Peter Dry was a young viticulture lecturer when Bryce started working at Roseworthy.

“ I was quite in awe of his achievements, experience and huge range of contacts in the wine industry. In the workplace he was quite formal and reserved—but still approachable and willing to give advice. It was when we travelled together on several occasions for speaking engagements that he was more relaxed and we had many enjoyable conversations on a wide range of topics. His great contribution to the Australian wine industry will live on for a very long time,” Dry said.

n e W s

Vale Bryce Rankinebryce Rankine (centre) pictured in 1978 at Roseworthy Agricultural College with (from left) Peter Dry, Richard smart, Dr Alain Carbonneau of bordeaux, and Andrew ewart.

bryce Rankine

WVJ


By Steve Guy, General Manager, Compliance & Trade, Wine Australia

W I n e A u s t R A L I A

China has become an attractive market for Australian wine exporters in recent years. It is now our fourth

largest market in terms of volume and, perhaps more importantly, Australian producers sell more wine to China at a free on board (FOB) price of $7.50/L and above than to any other country. China is, therefore, seen as a source not only of potential export growth, but also as an opportunity to inject some profi tability into the wine supply chain.

These opportunities, however, are not without contingent risk. Often, the risk is of a technical nature and springs from unexpected quarters. I will discuss two recent technical challenges that Australian wines have confronted in China and hope they serve a salutary lesson that when operating in China, nothing should be taken for granted.

The fi rst arises from the requirement in China to include on the label an indication of any residual sugar remaining in the wine. A designation such as ‘dry’, ‘medium dry’ or ‘sweet’ will satisfy this requirement and these terms are defi ned in Chinese regula tion. In particular, wine cannot usually be described as ‘dry’ if it contains more than 4g/L of residual sugar. It is, however, widely recognised that perceptions of sweetness depend not only on the exact amount of residual sugar, but also on the amount of acidity present in the wine. In short, acid ‘masks’ the presence of sugar, not in any chemical or analytical sense, but in terms of infl uence on the human palate. This masking effect is acknowledged in recommendations by the International Organisation of Vine and Wine (OIV) and in

European wine law to the extent that up to 9g/L of residual sugar can qualify the wine as ‘dry’, provided the acid content is no more than 2g/L less than the sugar content. The use of ‘more’ and ‘less’ in such close conjunction can lead to confusion, so, to be absolutely clear about this condition here are three scenarios:• residual sugar 9g/L; total acid 7g/L; result:

wine can be described as ‘dry’• residual sugar 5g/L; total acid 8g/L; result:

wine can be described as ‘dry’• residual sugar 9g/L; total acid 6g/L; result:

wine cannot be described as ‘dry’ (rather, it should be described as ‘medium dry’).

So, the requirement for the acid to be within 2g/L of the sugar only applies when the acid is lower than the sugar. This might seem obvious, given the discussion above about perceptions of sweetness, however, several Australian exporters have recently been forced to re-label wines with composition similar to that outlined in the second option above as ‘medium dry’. Of course, one way to ensure such a wine is compliant with Chinese law would be to sweeten it, since a wine with 6g/L sugar and 8g/L acid would qualify as dry. The ability, in theory, to render a wine ‘dry’ by adding sugar highlights the absurdity of the Chinese regulatory position.

An equally diffi cult situation has emerged regarding manganese content. No traditional wine-producing country, including Australia, allows the use of potassium permanganate during wine production. It is illegal to use this substance in Australian winemaking and, frankly, it is diffi cult to understand why anyone would be inclined to use it, given it is a strong oxidising

agent, and has the potential to negatively affect quality wine production. Nevertheless, it is apparently legal to use potassium permanganate in China, subject to the condition that its use does not contribute more than 2mg/L of manganese to the wine. Unfortunately, however, the Chinese authorities have interpreted this to be an absolute limit on the level of manganese that can be contained in the wine, and Australian wines with levels higher than this amount have been denied entry to the market.

Manganese is essential to the proper functioning of humans and other animals. Manganese is present in the air we breathe and water we drink, but food is the most important source of manganese exposure. Recent work in the US reveals manganese content of fruit varying between 0.2ppm and more than 10ppm, and nuts containing close to 50ppm. Very little work has been done on the manganese content of grapes and wine, but the available research suggests 2ppm will be regularly exceeded by wine from both Australia and other wine-producing countries, and to impose such an arbitrary limit, as the Chinese appear to have done, has no rational basis.

Exporters have reported several other frustrating and seemingly arbitrary technical impediments to trading with China in recent months. The commercial environment in China may be promising but, at the moment, the regulatory environment could best be described as unpredictable. Wine Australia continues to work with offi cials from the Australian Embassy and regulators in Beijing to resolve these issues, and will continue to do so with any that arise in future.

Navigating the China market: the opportunities and the challenges

China is a land of opportunity for Australian wine, but to make the most of the market, there are technical challenges that need to be well-understood.

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WVJ


W F A

WVJ

Last year was one of great change for the Winemakers’ Federation of Australia (WFA), with a new president

and a new chief executive taking over within months of each other. The primary focus was on continuing WFA’s core business – notably, strong advocacy in Canberra and the representation of the sector’s interests overseas.

However, president Tony D’Aloisio and I have also been working with our board, committees and staff on a longer-term strategy for WFA, based on what we believe is a realistic assessment of the state of play for the Australian wine industry. From this, our immediate priorities and related work programs have emerged.

The fi rst priority is to understand the drivers behind the lack of profi tability within the sector and what can be done about it at the industry and regulatory level – the biggest single issue for all in our industry. The national industry bodies have done some valuable work in recent years, particularly through the development of Directions to 2025 and the Wine Restructuring Action Agenda, but there are still gaps in our knowledge. We need to know more about future demand opportunities, where supply and demand mismatches are occurring, and the effect of market distortions such as exchange rates, wine tax arrangements and retail consolidation.

Much of what we previously learned needs updating in the wake of the global

fi nancial crisis, which changed many of the market parameters for Australia and its competitors. This analysis will enable us to re-evaluate the oversupply. It will also enable us to better direct the statutory authorities to develop marketing and RD&E programs matched to the demand opportunity and the supply-side challenges.

At a time where there are some who

believe the wine sector is fi nally on the mend, this work will also enable us to determine whether these reported early signs of recovery are cyclical and short term, or signal that a favourable longer-term structural adjustment is now under way.

This analysis of industry dynamics will be ongoing and include the direct participation and input of WFA board members.

I am pleased to say that we have successfully applied for GWRDC funding to help us undertake this analysis, and the Wolf Blass Foundation has also made a major fi nancial contribution. Wolf Blass’s outstanding contribution to Australian winemaking continues (for further details on this project, see story on page 6).

All in all, this work is a good showcase of the industry working together to better understand its major challenges and opportunities.

The second priority is a suite of initiatives around the broad issues of health, alcohol and social responsibility. Most people reading this article would be aware of the media scrutiny and regulatory threats

now hanging over the sector. WFA is particularly concerned about regulatory creep, with public health advocates pushing for increased taxes on wine products and greater restrictions on how our products can be marketed.

We have developed a detailed action plan that will acknowledge the wine industry’s responsibilities as an alcohol producer, while highlighting our commitment to a moderate drinking culture. We will vehemently defend our social licence and legitimate role in balanced Australian lifestyles. Four core themes underpin our approach:• the positive and signifi cant regional and

national socio-economic footprint of the wine industry must be a key consideration in any assessment of the public interest when considering policy reform to issues that affect wine and the community

• WFA supports and believes a change in Australia’s drinking culture can be achieved by long-term project commitments from government, health professionals and the industry that challenge what is acceptable behaviour when alcohol is consumed, inform better consumer choices and encourage the benefi ts of moderation

• there is no clear evidence that applying artifi cial pricing levers (including raising alcohol tax) will achieve a reduction in alcohol-related harm. Targeted interventions and programs for at-risk groups, consumer education and cultural change initiatives are better investments over the long term that do not penalise the majority of responsible consumers

• WFA supports a fact-based policy and community debate on the issues, and will focus our efforts on identifying research gaps and investing in Australian research that aids policy development, encourages moderation and reduces rates of harm.

I look forward to telling you more about specifi c programs during 2013. In an election year, WFA’s aim is to promote our industry as an overwhelmingly positive economic and social part of the Australian fabric. I’m sure we would all agree.

Profi tability and health our two immediate prioritiesBy Paul Evans, Chief Executive, Winemakers’ Federation of Australia

WFA’s activities in 2013 will be dually driven by concerns around profi tability and health.

Most people reading this article would be aware of the media scrutiny and regulatory threats now hanging over the sector. WFA is particularly concerned about regulatory creep, with public health advocates pushing for increased taxes on wine products and greater restrictions on how our products can be marketed.

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K e Y F I L e s

What happened to straight wine? That is, wine that refl ects the alcohol of the conditions that

the grapes were grown in. Wine made from one variety, or maybe a blend of varieties, or from a single site, or then again, a defi ned region, or perhaps more than one region.

For a moment, let’s skip to the other end of the spectrum: the so-called natural wine movement, wine made with minimum winemaker intervention, grapes grown in organic or biodynamic vineyards and nothing added in the making. Sounds great; but sounding great and tasting great are not often entwined.

Prior to Christmas, I was in a restaurant and the sommelier suggested I have a glass of natural wine. “It’s challenging,” she said. It wasn’t challenging, it was horrible. I watched her fl aunt around the restaurant for the rest of the evening, ‘challenging’ diners. At least I knew (roughly) what I was getting, and only ordered it out of vinous curiosity. I’m not sure the other diners did.

In an interview in April 2012, one of the world’s most powerful wine buyers, Annette Alvarez-Peters (Costco), said about wine, “Is it more special than clothing? Is it more special than televisions? I don’t think so.” The interviewer then said, “Certainly, it’s different than toilet paper? Or different than tin foil?” Alvarez-Peters replied, “Why?”

This upset many in the wine trade and serious wine-loving consumers, but I’m on the side of Alvarez-Peters. It’s the job of buyers to source the best they can for the organisations they work for and for the consumers that shop there. In that respect, wine is no different from tin foil or toilet paper.

Returning to natural wine, let me align it to potatoes - the humble spud - which I adore and enjoy; different varieties in different dishes. A spud does very little, in fact, almost nothing unless cooked.

It’s the hand of the cook that makes the potato something special, just as it’s the hand of the winemaker that makes wine what it is.

Looking after the soil the vine is planted in (remember, a vineyard is not the natural home of the vine) as best one can and being organic or biodynamic is good for the land and, therefore, good for the grapevine. Sorting the fruit, picking out the best berries and making the best wine, guiding it through the various stages from juice to fi nal wine is to be admired. But, ultimately, the drinker wants a wine to enjoy. I do not want to suffer another person’s idea of what wine should be via nature’s unpredictable direction. I love to be challenged, but thin, sour liquid is not the way to go and it leaves me chilled that knowledgeable people can be fooled into promoting certain wines because, somehow, they have been convinced it’s intellectual to do so.

The point of this article’s wandering introduction is that consumers want to enjoy wine, they want to feel comfortable in what they drink, and they want security. Readers of this magazine have deeper insight into wine, as do those consumers that read Decanter or Wine Spectator. Embrace me in private conversation about wine and I’m not likely to rave about the palate inspiration I receive from a brand such as Yellowtail, but I have huge admiration for the business, the Casella family, and I respect the pleasure they bring to millions of drinkers.

Without the immeasurable hordes of mildly interested consumers, the wine industry would be vastly different and, in my opinion, a great deal poorer. What all producers want is to capture as large a part of the consumer market as they can that is relative to their size of production.

The smaller producer can follow his or her own whim and produce any style he or she desires. Hence, hand-crafted Barossa Valley blockbusters are made and appeal to some. The larger

producer has to gauge wider market requirements. Problems arise because the mass consumer changes his or her mind often faster than vineyards can mature or varieties, style and brands become established and repay the vast investment. What drives the change is often hard to fathom. Why did Australian wine push German wine off UK shelves? Why has New Zealand Sauvignon Blanc usurped Chardonnay? Why is the consumer becoming more concerned about the alcohol content in wine, and who are these consumers?

European marketing director at Accolade Wines, Clare Griffi ths, is quite clear on the who and why.

“From our WineNation research, we know the biggest potential for growth of low alcohol wine comes from regular

Current wine duty rates in the uK(ABV: alcohol by volume)

Type of wine Wine Duty rate per 100 litres

Wine exceeding 1.2% ABV but not exceeding 4% ABV £78.07

Wine exceeding 4% ABV but not exceeding 5.5% ABV £107.36

Still wine exceeding 5.5% but not exceeding 15% ABV £253.39

Wine exceeding 15% ABV but not exceeding 22% ABV £337.82

Sparkling wine exceeding 5.5% ABV but less than 8.5% ABV

£245.32

Sparkling wine 8.5% and above but not exceeding 15% ABV

£324.56

SOURCE: https://www.gov.uk/alcohol-duties

Into the lightthe increasing popularity of low alcohol wines

By Tony Keys

Light or low alcohol wines are becoming the next fashion choice for drinkers.


K e Y F I L e s

female wine drinkers who might be looking to cut down on their alcohol and calorie intake during the week. These are consumers who tend to drink wine two to three times per week and who are very conscious of diet and calories,” Griffi ths said.

An article by Victoria Moore in the UK Daily Telegraph (21 September 2012) said, “Despite the vast sums of money spent on research and machinery to produce low alcohol wine style drinks, the vast majority of them aren’t worth the effort it takes to lift the bottle. The problem is the taste: almost always disappointing.”

Griffi ths, using Accolade’s own research and that of Nielsen, says the market is growing 15 percent in value and 12% in volume. More importantly, 22% of the volume is repeat business.

“Don’t make the mistake of thinking these Frankenstein-like creations will satisfy any craving you might have for wine,” Moore said. She believes they are grape-based drinks that often have an industrial edge and resemble a mixture

of fairyfl oss and wine gums dissolved in water with a splash of alcohol.

It may be unfair to take statements from Moore and Griffi ths and present them as if an exchange has taken place, but it shows the differing sides of the wine argument, which is today the same as it always has been: the interested and knowledgeable minority versus the majority who are uninterested and less knowledgeable.

James Halliday, writing in The Australian on Saturday 19 January, focussed on winemaker Stephen Pannell, the wines he makes and his future plans. Halliday included a rhetorical

question to Pannell: “Will consumers like or understand Shiraz when we lower alcohol, freshen fruit, move away from the jammy and ripe styles, lighten the mouthfeel and take away the heavy oak infl uence?”

It’s a winemaker and wine lover question but, turning it around, are global consumers really in favour of American or heavily oaked, jammy Shiraz? It’s all swings and roundabouts, and no one

wine or style is going to please all the people.

Lighter styles with lower alcohol are coming into sharper focus in consumers’ minds.

“There is a broader UK trend that is seeing consumers switch to healthier alternative products. Nearly 75% of consumers are buying into lighter and healthier food and drink options, which increased by 12% between 2007 and 2010,” Griffi ths said.

In the domestic market, Bree Woods is Accolade’s senior innovation manager. Woods sees a similar trend locally as is occurring in the UK, and Nielsen fi gures back it up. “Based on November data, the low/light category has a 7.6% volume share of bottled wine and a 6.8% value share on the domestic market,” Woods said.

The difference between the UK and Australia is that Moscato, Sauvignon Blanc or Sauvignon blends are driving the domestic market, whereas in the UK, it is specifi c wines produced with low alcohol, such as Banrock Station Light. Griffi ths says the light wine market in the UK currently represents around 2% of the total UK wine market and, in the last year, has experienced growth of 20% in volume and 27% in value. The sector is now said to be worth £38 million (A$57.6 million).

The unanswered question about low alcohol or light wine is whether its growing popularity is due to consumers wanting to reduce alcohol intake, or the appeal of less calories. There was a review of the Banrock Station Light range last November on Mail Online by Amy

Th e unanswered question about low alcohol or light wine is whether its growing popularity is due to consumers wanting to reduce alcohol intake, or the appeal of less calories.


K e Y F I L e s

De Vine: “On the lips, not on the hips. Banrock Station Light is only 5.5%v/v - fewer calories, but with bags of fruit and flavour and only one unit and 56 calories to the 125mL glass – less than 30% found in a typical glass of wine. Comes in a refreshing rosé (vibrant red berry aromas and juicy flavours) and a crisp light blend of Chardonnay and Sauvignon Blanc (zingy scents of melon and apricot with floral notes).”

Mintel research in the UK suggests the increased sales of wine less than 8.5%v/v is due to people worried about

health. Mintel put the average alcohol content of a bottle being sold in the UK at 12%v/v. It also says the lower tax means lower price on the shelf, which is also an attraction.

Treasury Wine Estates launched Lindemans Early Harvest range in 2007 and has since increased both the range and sales. The domestic market is said to be worth around $43 million a year, according to Treasury using Nielson figures: “equivalent in value to over half the size of total bottled Shiraz blends or more than the domestic rosé market at $31 million”.

The continuing success of Early Harvest has resulted in Treasury partnering with retailer Woolworths to give its three light brands, Lindemans, Yellowglen and Matura, their own space in 350 Woolworths Liquor stores across Australia.

Statistics being tools of witches and wizards, Mintel points to the lower price in the UK being an attraction. Treasury says, “Six out of 10 consumers in Australia are willing to pay more for a wine if they know that it’s lighter in alcohol”. This may be factual research, but the suggested retail price for Early Harvest of $13/bottle isn’t often applied

and the range can be found at less than $10/bottle.

In alcohol, the Early Harvest range slides from 9.5%v/v for the sweet red, down to 7.5%v/v for the sparkling wines, which is 2-3.5%v/v higher than the Banrock Station range.

In the Yellowglen range, the company offers Yellow 65 and Pink 65, saying they have fewer than 65 calories per 150mL glass. Also, “when compared with 750mL Yellowglen Pink and Yellow, these wines have 30% fewer calories and 40% less alcohol”.

From New Zealand Treasury comes Matua First Frost Sauvignon Blanc. As with the Early Harvest, the marketing features the benefit of being at least 25% lighter in alcohol and 25% less in calories when compared with compatible wines.

The US Nielsen Scan Data on a moving annual total to 5 January 2013 reported lighter style wines are growing by 6% in value on average, with Moscato growing at an average of 30% in volume, year on year, in the US. What Nielsen is unclear on is what alcohol content defines light wine. It says, “Lighter style wines include blush, Merlot, Moscato, Pinot G, Pinot Noir, rosé, Sauvignon Blanc, White Merlot, and White Zinfandel”.

Treasury is also pleased with the progress of newly-launched brand in the US, The Skinny Vine. The promotional material also uses the “sweet on the lips as it is on the hips” mantra. The brand offers Chardonnay, White Zinfandel and Moscato, all from California and with between 7.3-8.5%v/v, offering 95 calories per 5 fluid ounce glass (155mL), protein less than 1g, fat 0g, and carbohydrates 4.5-10g.

It’s clear there is a strong and growing consumer case for lower alcohol, hence, light wines. Drinkaware, the UK alcohol

awareness charity that the alcohol industry supports, is in favour of lower alcohol making much of the reduced calorie aspect. Calories have become a major part of the battle against consuming alcohol, and it appears the charity is fully aware of its ability to convince people to give up alcohol and, at best, hopes to reduce consumption. However, if it can use the fashion of diet, then success in the reduction of alcohol intake can be consumer-led.

Drinkaware tells people the average wine drinker consumes 2000 extra calories a month. A glass of wine has similar calories to a slice of cake and a 250mL glass of 13%v/v red wine contains 200 calories. The health conscious consumer has to be easily persuaded about the benefits of light wine, and Drinkaware has an easy-to-read pictorial on its website.

As would be expected, all the big producers say about low alcohol or light wine is positive; if all is good, what is the downside?

The downside takes this article back to its beginning and the myth that winemakers have been promoting for centuries: wine is the natural product of the grape, fermented grape juice, nothing added, nothing taken out, nature’s gift, and so it goes on.

What makes the fashion for light wine difficult for the marketers is the use of spinning cone column or reverse osmosis to remove alcohol from wine (refer Gary Baldwin’s column on page 19 of this issue).

The lower alcohol wines of previous days were often thin, bitter excuses of alcoholic liquid that, like several of the so-called natural wines today, were simply awful to drink. The use of the spinning cone column or reverse osmosis is, in my view, an acceptable tool to use. Consumers, often being difficult to please, want both lower alcohol and the richer flavour that ripe grapes provide. Unless consumers become interested in wine and make the effort to educate themselves on the subject, it’s hard for them to grasp that ripe grapes also means higher alcohol. It’s easy for them to say ‘pick the grapes earlier’, but fail to understand they won’t get the same flavour.

Large producers can and do make vast ranges of wine from the craftily-produced, lower alcohol, sunny lifestyle drops, up to the artfully-crafted single vineyard vinous super stars, and all variants in between. Small wine operations produce the style they believe in. What it means is that there is plenty of wine to suit all palates and opinions, from the happy-go-lucky sweeter style drinker, through to the pompous bore.

Consumers, often being difficult to please, want both lower alcohol and the richer flavour that ripe grapes provide…it’s hard for them to grasp that ripe grapes also means higher alcohol. It’s easy for them to say ‘pick the grapes earlier’, but fail to understand they won’t get the same flavour.

WVJ

™


Know thy site and back thyself.That was the key message as local winemakers and

viticulturists received a resounding vote of confi dence at the sixth biennial Mornington Peninsula International Pinot Noir Celebration in early February.

Guests from France, California and New Zealand were among 180 producers, retailers, importers and members of the press and public who descended on Cape Schanck for the event.

Peninsula wines were universally judged to have held their own against fi ne examples from the rest of the world as participants swapped ideas on how to continue to refi ne expressions of the variety.

It was apt that an event marking the journey of Pinot Noir on the peninsula should open with a pilgrimage-themed tasting. Event chair Kate McIntyre MW and keynote speaker Jasper Morris MW took the room through a bracket loosely based on the wanderings of vine-planting Cistercian monks. Pinots from Baden, in Germany, and Burgenland, in Austria, surprised and impressed in a line-up that also featured Champagne, Burgundy and Alsace.

Attention then switched to the host nation, with Sommeliers Australia president Ben Edwards stepping in as facilitator. Edwards praised the maturity and self-assuredness being shown by home-grown Pinot.

“A lot of that comes through vine age, through experience, through an ability to stop bowing down to a temple that doesn’t necessarily have any relevance to the wines that we produce and we just start to feel comfortable in our own skins,” he added. “As a result of that, the wines we’re seeing are more sensitive and we do make what are, in a lot of respects, gentle wines that speak volumes about authenticity.”

This bracket of 2010 Pinots sparked one of the hotter topics of debate of the weekend: the use of stems in the ferment. While winemakers remained as divided as ever on whether the practice suits them, it was notable that two of the most admired wines of the fl ight – the Stoney Rise Holyman, from Tasmania, and Curly Flat Pinot Noir, from the Macedon Ranges – used 20% and 25% whole bunches, respectively.

Curly Flat winemaker Phillip Moraghan also touched on another of the key talking points, namely the time and effort involved to know a vineyard inside out. Moraghan highlighted the need for extensive trial work, saying he kept at least a dozen bottles of every one of the roughly 35 ferments he conducts every year. “It’s through that that we’ll learn some things, “ he said. “But I don’t think through one year, or one generation and an Excel spreadsheet are you going to truly learn your site. I think it’s a lot more than that. Having spent time working in Burgundy, they’ve been doing it a lot longer. It’s in their DNA and it’s not in our DNA yet.”

It was a sentiment echoed by international guests such as Josh Jensen, the Californian winemaker whose quest for memorable Pinot Noir was the subject of Marq de Villiers’ book, The Heartbreak Grape. Jensen was there to present a bracket of Calera Mt Harlan Pinot Noir from four single-vineyard sites taking in the 1999 and 2009 vintages. But fi rst, he praised the peninsula for its absence of “fruit-bomb” wines and prevalence of native or indigenous yeast fermentations. “Trust nature, trust

I n D u s t R Y e V e n t s P I n o t C e L e b R At I o n

Celebrating the evolution of Mornington PinotBy Ed Merrison

burgundian wine expert Jasper Morris was the keynote speaker at the recent sixth biennial International Pinot Celebration held in Victoria’s Mornington Peninsula, which saw local Pinots holding their own alongside international examples.

Pinot Celebration chair Kate McIntyre with Ray nadeson, of Lethbridge Wines, based in Geelong.

Mornington Peninsula producers, from left, Rollo Crittenden, of Crittenden estate; simon black, of Montalto; and Jeremy Magyar, of ten Minutes by tractor.

Celebrating the evolution


P I n o t C e L e b R At I o n I n D u s t R Y e V e n t s

your soils, trust your climate, trust your instincts,” Jensen told the crowd. “I also applaud many of you for dry farming. It‘s going to drive your roots deep into the ground in search of moisture. And the wines, as a result of that, are going to get more and more complex over coming years.”

Another US guest, Ted Lemon, left the audience spellbound ahead of a hybrid bracket of wines he makes for his own Littorai label in Sonoma County, California, and those he crafts for Burn Cottage in Central Otago, New Zealand. In his introductory speech he argued that terroir does not simply exist and that it is up to winemakers to build “pure, great and true terroirs” in the New World. He put forward guidelines for doing this, culminating in the words: “Most importantly of all, abandon the quest to make great Pinot Noir. Your job is to craft wines which are the most honest, crystalline expression of their place and then let others decide if they feel that your efforts are worthy”.

Lemon was asked by Jasper Morris MW – who views vintage variation as an exciting feature of the Mornington Peninsula while expressing doubt as to whether 2011 should command the same prices as, say, 2010 – whether a winemaker should intervene to compensate for a less favourable vintage. “Leave room for the mystery of wine,” Lemon replied. “To go back to the Burgundian experience, there are multiple examples of vintages that turned out to be really lovely that at first felt a little thin and a little underwhelming.”

The degree to which a wine should bear its creator’s stamp was the source of much discussion. Morris said he did not

like to feel the “hand of the winemaker”, preferring instead to sense a voice or temperament.

Burgundy winemaker Etienne Grivot – whose Domaine Jean Grivot grand and premier cru wines, spanning 2007 to 2010, brought the event to its eventual close – warned winemakers against being too rigid in their approach. “It’s always bad to have one idea about vinification,” he told them. “It’s much more important for me to try to adapt my style to the natural context of the vintage. The first priority of the winemaker is intuition.”

Unsurprisingly, Grivot joined the chorus of voices urging intimate knowledge of one’s terroir, which he likened to a symphony, with the winemaker as conductor.

The first Mornington Peninsula tasting, one of two flights of 2010 wines, was prefaced with a presentation on a new terroir-defining initiative. Seven vineyards across the peninsula are playing host to weather stations which will keep a detailed record of temperature, rainfall, humidity and, in some instances, soil moisture. The information gathered from the

David booth, of Mornington Peninsula winery south Channel Wines.

David Lloyd, of eldridge estate, Mornington Peninsula, with wine writer Max Allen.

From left, wine writers Matt skinner and Mike bennie with winemaker tom Carson, of Yabby Lake, Mornington Peninsula.

James Halliday.


stations will be made available to all members of the Mornington Peninsula Vignerons’ Association.

MPVA president Lindsay McCall, of Paringa Estate, said the initiative was not a step towards designating official sub-regions, a concept strongly discouraged by the likes of Morris and James Halliday. Rather, the objective is to better understand the physical environment.

“When you see the data over weeks, months, years, it’s going to be fascinating,” McCall said. “I think we’re going to greatly benefit from the information it will provide us into the future.”

And so to the region’s wines. Of the 2010 Pinots put up for tasting, Morris said: “There’s a lovely consistency here, relatively speaking, in style, and certainly in quality. It’s a lovely balance between sweetness of fruit and the savoury

content. What I particularly like is the way the fruit is evenly spread across the palate.” Lemon agreed, adding that he found the wines “precise”.

Members of the organising committee said it was important to show that Mornington Peninsula Pinot Noir could age. To this end, they put together a flight of wines from various producers dating from 2004 to 2008.

Once again, the reception was positive, with wines like Main Ridge Estate’s Half Acre Pinot Noir 2006 – made from vines planted in 1975 - confirming Morris’ feeling that local wines had “very good ageability potential”. Halliday was another who felt the wines had the structure to warrant cellaring, but said only vine age could offer up the right tannins for laying the wines down for decades.

Halliday also summed up the general impression of the overall progress of

Mornington Peninsula Pinot Noir. “They have come a very long way in a very short period of time and you have to believe that over the next 10 to 20-plus years you’re going to continue to see better Pinots coming.”

Kate McIntyre MW said every time the event is held, the local wines show better consistency, quality and complexity – a trend she firmly expects to continue.

And the event itself – as a celebration of Pinot Noir and as a milestone on its journey – was deemed a success.

“It’s a fantastic way to get together, taste some really great wines and reflect on how our wines sit in the line-up,” McIntyre said.

“If you don’t have different ideas and different people expressing them in a forum, then ideas stagnate. Winemaking is part science but it’s part art, and you need to have that inspiration to create something that’s not run of the mill.”

I n D u s t R Y e V e n t s P I n o t C e L e b R At I o n

Our coverage of the International Pinot Celebration continues in our May/June issue featuring journalist Ed Merrison’s exclusive interview with keynote speaker and chief facilitator Jasper Morris in which he talks about Mornington Peninsula wine, and a transcript of the mesmerising speech by Ted Lemon, who makes wine for Littorai, in the US, and Burn Cottage, in Central Otago, New Zealand.

Winemaker nat White, of the Mornington Peninsula’s Main Ridge estate, with Philip Rich, of Melbourne’s Prince Wine store.

Keynote speaker Jasper Morris (left) and Calera winemaker Josh Jensen. Winemaker for the Mornington’s stonier winery Mike symons (left) with Michael Glover, winemaker, bannockburn, Geelong.

WVJ


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The topic of low alcohol wine seems to have signifi cant currency in the modern industry, but it does

present some interesting dilemmas. For example, what exactly is low alcohol wine? Alternatively, when is a wine a low alcohol wine? Is it wine made from under-ripe grapes that have a slightly lower alcohol than the normal style? Or, is it wine from which some or most of the alcohol has been removed and, if that is the case, how

low can you go and still have wine? On the latter, at least, that is quite clear; the legislation imposed by Food Standards Australia New Zealand requires that wine has at least 4.5% alcohol by volume.

There are probably no simple answers to the rest of the questions, but it does seem that the new reality is that anything goes in terms of alcohol and wine. There are still high alcohol table wines on the market at more than 16%v/v, and there

are the new low alcohol style drinks like Moscato, in which the alcohol concentration can be as low as 5%v/v.

It was only a couple of years ago that a large UK supermarket chain offered a very attractive contract and reward to anyone who could make it a commercially successful 8% alcohol wine. I could be wrong, but I do not think anyone ever collected the reward. While an 8% alcohol wine is practically obtainable, it is a much

L o W A L C o H o L W I n e W I n e M A K I n G

Making low alcohol wine with inherent att ractiveness intactBy Gary Baldwin, Principal ConsultantWine Network Consulting Pty Ltd, Victoria. Email: [email protected]

Wines low in alcohol are gaining traction in both the Australian and international marketplace. How can winemakers approach the creation of a low alcohol product, while being mindful of maintaining wine’s inherent attractiveness?


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harder thing to make it a commercially attractive product with not only a good story, but also a great taste to go with it.

The fundamental problem is that much of wine’s inherent attractiveness derives from the alcohol, which imparts sweetness and mouthfeel that has appealed to the human appetite for centuries. Once the concentration of alcohol is reduced signifi cantly, much of the attractiveness is gone. While this can be partially replaced with fl avour modifi ers, those additions have to be revealed on the label. This tends to make the wine far less attractive to the modern switched-on consumer. Wine with back label comments ‘added aspartame’ or a statement that the wine contains 30g/L of sugar or similar, are unlikely to be attractive in today’s market.

But it also seems to have come about that wine in which high alcohol is the

dominant characteristic appears to be unattractive in the current market.

It does seem a little confusing; on one hand we need and like alcohol, but on the other hand, we do not want too much. It is a little like new motor cars; we want them to have speed, but society says we must not allow them to go too fast.

So, alcohol is important in wine and it seems to be easy to make wine with high alcohol, but can we successfully make it with lower alcohol? Furthermore, once taking the decision to reduce the alcohol concentration, can it be done without affecting wine quality and can it be done at a reasonable cost?

The answer in 2013 is that both things are possible. There are now several practical methods of alcohol reduction and each of them have their advantages and disadvantages.

There may be different reasons for wanting to reduce the alcohol in wine.

In some cases it is done for reasons that have nothing to do with taste. For example, to export to the US and remain under the 14% tax barrier, or to reach some arbitrary set limit such as the 8% suggested by the UK supermarket.

In many cases, the alcohol reduction is done because it will result in a more attractive or more marketable product. This is useful in cases where wines end up, for various reasons, with excessively high alcohol and the aim is to lower the alcohol, without removing anything else, and rendering it more attractive in the process. These days, this can be done accurately enough that a winemaker can dial the level of alcohol that most suits the wine. This is often described as ‘sweet spotting’, a term that was coined by the original inventor of the general process of reverse osmosis fi ltration and recombination, Clark Smith, of the

Vinovation company in the US.In broad terms, there are three

possible methods currently available for alcohol reduction:• Pick grapes earlier

Obviously, if the winemaker can achieve satisfactory fl avour and tannin ripeness before sugar levels are excessive, then he or she should harvest earlier. This means grapegrowing practices must be excellent and there must also be suffi cient resources in the production chain to allow all the grapes to be harvested optimally. In the current climate this is not so easy and, of course, there are limits to what can be achieved in practice with this method.

• use new yeast strains that produce less alcoholThere is research being done on these techniques, but without genetic modifi cation of the yeast, there are real limits to what can be achieved.

...much of wine’s inherent attractiveness derives from the alcohol, which imparts sweetness and mouthfeel that has appealed to the human appetite for centuries. Once the concentration of alcohol is reduced significantly, much of the attractiveness is gone.


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At this stage, the very best outcomes are only minor reductions in fi nal alcohol concentration.

• Manipulate the composition of must or wine In the short to medium term, the best prospect for the winemaker is to use some technological process to manipulate the composition of the must or the wine made from it.The most obviously attractive approach

is to reduce the sugar concentration in the must. After all, alcohol levels have been manipulated (upward) by the process of chaptalisation for many years. If sugar concentrations could be reduced, then this would, of course, lower wine alcohol. This is not so easy to achieve in practice, but the options will be canvassed.

WAteR ADDItIon oR DILutIon

Adding water to must appears to be a common practice. It will reduce the sugar concentration but will also dilute other desirable wine components such as acid, fl avour, tannin and colour. In most countries such practices are not allowed; water addition is generally regarded as cheating, with a poor effect on wine

quality. Interestingly, this is not the case in the US where some dilution down to 22oBrix is permitted.

buCHeR ‘ReDuX’ PRoCess

French company Bucher Vaslin has a proprietary, patented process for reducing the sugar concentration of must. To quote its website: “reduction of sugar content in the grapes must to reduce alcohol of a wine” (sic). The website lists this process under reverse osmosis technologies and suggests interested parties should contact the company

directly. It also warns that the process may not be legal in some countries.

oPtIons to ReDuCe ALCoHoL In WIne

If the must composition is not adjusted before fermentation, then the alcohol composition must be adjusted later. As with grape must, it is possible to add water and, so, dilute the wine, but this raises many of the same objections as the dilution of must, so it will not be considered further.

Reduction of alcohol in wine is now widely practised and, currently, this is

Of the various distillation techniques [to reduce sugar concentration in must], the most successful and widespread is the spinning cone column...Of necessity, this equipment is located inside large processing plants and requires the wine to be transported to the site.



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achieved using two broad categories of processes:• Distillation-based techniques that rely

on the different boiling points of alcohol and other wine components

• Membrane-based techniques that rely on the different permeabilities of alcohol and other wine components for a given membrane or membranes.

sPInnInG Cone DIstILLAtIon

Of the various distillation techniques, the most successful and widespread is the spinning cone column. Essentially, the process is based on a column with a stack of alternating static and spinning cones. Product enters at the top and a thin fi lm forms on the cones as it descends. In counter-fl ow with this is a stripping stream of vapour (gas or steam) which ascends the column under vacuum. Volatiles such as fl avour and alcohol are thus removed. In the case of alcohol adjustment, a portion of the wine is processed through the column twice. On the fi rst pass at lower temperature (~25oC), delicate fl avours are removed and stored. On the second pass at higher temperature (~40-50oC), alcohol is removed and the fl avours and

de-alcoholised wine are then recombined with the bulk of the wine.

Of necessity, this equipment is located inside large processing plants and requires the wine to be transported to the site.

ReVeRse osMosIs AnD DIstILLAtIon

The fi rst membrane-based system for removal of alcohol from wine was developed by Clark Smith and relies on reverse osmosis to provide a permeate stream which is distilled in a continuous still, from which the alcohol is collected and the water from the permeate is collected and returned to the original wine. This system has been used successfully for many years in the US, but it does require easy access to a still that is capable of collecting not only the alcohol, but also the water from the process which is then added back to the wine, thus, reducing the alcohol.

ReVeRse osMosIs AnD RePLACeMent WItH ‘GRAPe WAteR’

This process also relies on taking reverse osmosis permeate from the wine and replacing the volume with low strength juice or grape water, which is

derived from the concentration of grape juice. This product has various names, although the most common appears to be LSJ, or low strength juice.

The downsides are the availability of LSJ and sometimes the quality of the material. Then, there is also the label integrity program (LIP) issue. The LSJ is generally made from neutral or Muscat white varieties and the addition of this material to wine may possibly result in non-compliance with LIP.

ReVeRse osMosIs AnD PeRstRACtIon

The ‘Memstar’ patent that was developed in Australia also uses reverse osmosis permeate, but the difference in this system is that the permeate is immediately passed through a second selective perstraction membrane against a counter current of water. As alcohol is volatile it can pass across the perstraction membrane and into the water stream, thus reducing the alcohol content signifi cantly and, then, the alcohol-reduced permeate is fed back into the original wine. This process is continued until the desired alcohol is achieved. ▶

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The advantages of this process are that nothing else changes in the wine, the plants are mobile and the machine can come to the wine, allowing small and relatively remote facilities to access the technology. Finally, nothing else is added to the wine, thus reducing any potential LIP issues.

The costs of these processes are reasonably similar and amount to cents per litre of fi nished wine, rather than dollars. For very large volumes, the spinning cone method may be the most cost effective. The cost of the membrane-based processes are similar and all are related to the volume of throughput. The Memstar process is often a marginally more expensive option but, importantly, it also has the less qualitative risks and no LIP issues.

In summary, there are now several options for the modern winemaker if he or she decides to produce low alcohol wines. There are procedures for minimising the concentration of alcohol in the fi rst place, and there are procedures for reducing the concentration of alcohol in the fi nished product. These procedures allow either signifi cant reduction to achieve low alcohol wines, or minor modifi cations to improve the balance and harmony of the wine. WVJ

A mobile Memstar unit. Developed in Australia, the Memstar technology uses reverse osmosis permeate, where the permeate is immediately passed through a second selective perstraction membrane against a counter current of water. Alcohol passes across the perstraction membrane and into the water stream, reducing the alcohol content. the alcohol-reduced permeate is then fed back into the original wine.

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Parker Hannifin, through its brand Parker Domnick Hunter, is a key player in the global wine industry and has been supplying compressed air and nitrogen generation systems to the Australian wine industry for more than 20 years for use in bottling, purging and inerting applications. The Parker Domnick Hunter Maxigas nitrogen gas generator is available in seven models, offering varying flow rates and purities and features: 5% down to 10ppm oxygen content without the need for any additional purification; an automatic economy mode; built-in oxygen analyser for continuous purity monitoring; digital and analogue outputs for remote monitoring; alarm capacities; user-friendly control interface; and a compact design. The easy-to-use system is simple to install, requires minimal maintenance and eliminates safety hazards associated with traditional gas supplies. Its modular concept means the generators can be multi-banked if required, while the elimination of cylinder deliveries and transportation results in a reduction in carbon footprint.

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The uptake of crossflow filtration in the Australian wine industry over the past five years or so

has very much been led by larger producers, with the cost of the technology making adoption by smaller wineries cost-prohibitive regardless of the perceived benefits.

However, a growing number of mobile crossflow units in regions such as Margaret River and the availability of smaller, lower-priced crossflow units, combined with a favourable exchange rate that has made such units cheaper still, is seeing a rollout of the technology to an increasing number of smaller producers.

“Up until a couple of years ago, crossflow units were perceived as luxury items. Now they’re almost a necessity,” said Rob Gore, general manager of Winequip, an agent for Juclas crossflow filters which have been sold into several of Australia’s larger wineries over recent years and now offers a smaller model Juclas filter that’s appealing to the other end of town. With a capacity to filter 1000-2000 litres per hour, it is models of this size that Gore says “is where the market is headed”.

“There’s a few contract and mobile crossflow filter providers around. But, like contract bottling, they lack the flexibility of having your own unit. And with the favourable exchange rate at the moment, and the improvement in the knowledge of what crossflow does

A growing number of mobile crossflow units in regions such as Margaret River, such as this one owned by Portavin Integrated Wine services, and the availability of smaller, lower-priced crossflow units, is seeing a rollout of the technology to an increasing number of smaller producers.

The advantages of crossflow filtration becomes clearer for smaller producersBy Sonya Logan


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among smaller producers, there is definitely a growing interest in them purchasing their own units,” Gore said. “And when they compare the cost of replacing filter media in traditional filters, crossflow looks even more attractive.”

One such small producer to recently acquire its own crossflow unit is Holm Oak Vineyards, in Tasmania’s Tamar Valley. While winemaker Rebecca Duffy admits that crossflow filters have come down in price, it was the winery’s successful bid for a Tasmanian Innovation and Investment Fund (TIIF) grant, which are aimed at boosting employment and diversifying the state’s economy, that enabled the winery to purchase one. The grant also allowed the winery to buy a new press, peristaltic pump and some tanks with the condition that the newly-acquired equipment be made available to other smaller wineries in the area.

“I’ve been interested in crossflow filtration for a few years. I’m the only one that runs our winery; I don’t have cellarhands to deal with the frustrations of filtration. We’ve had issues over the years with filters blocking and so on when doing pad

filtration. But crossflow filtration has always been cost-prohibitive,” Duffy explained. “We were fortunate enough to get the TIIF grant and a crossflow filter was one of the pieces of equipment that we purchased,” she said, admitting it was a “bit of luxury” as a smaller producer to now own such a filter.

With her new filter due to arrive in a matter of days after being contacted by the Wine & Viticulture Journal, Duffy was looking forward to putting it through its paces during vintage 2013.

“Being able to filter in one pass is going to be one of its greatest advantages. And we’ll get better returns in terms of wine volume and we won’t have to pay for filter cartridges. A crossflow filter does pay for itself relatively quickly. It’s good from a labour-saving point of view too.”

Duffy said as there was no cost-effective mobile or contract crossflow service available in the Tamar Valley, she expected there to be plenty of interest in Holm Oak’s unit from the region’s smaller wineries.

“Purchasing a crossflow filter isn’t really viable if you produce 700 tonnes of fruit or less. And a lot of the small

wineries down here produce a lot less than 100t. It makes sense for us to do it for them.”

Not stuck for mobile or crossflow filtration services is Western Australia’s Margaret River region, where at least three providers are available to the local wine industry.

One of these is Portavin Integrated Wine Services, which has a mobile crossflow unit, allowing filtration to take place at either its static bottling facilities or at its clients’ own wineries. General manager of Portavin - Margaret River, Anthony Davis, says there has been a perceivable change in his client base for crossflow this year in favour of smaller producers.

“Compared with the previous two years, the mix of customers has changed from predominantly larger wineries to smaller wineries. That’s partly as a result of a number of the mid to larger wineries that produce 1000t or more buying their own crossflow filters. But we’ve also seen a number of wineries approaching us that previously haven’t been interested in crossflow filtration.

“We can filter batches of 1000L or less using crossflow achieving


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a turbidity of less than 1NTU in a single pass - you can achieve sterile filtration in one shot. Compare this with two to three passes with a traditional pad filter without the need to dispose of exhausted cartridges or the handling difficulties associated with diatomaceous earth. It’s also very economical. Wine losses are low as a result of how the filter operates.”

Nathan Bailey, winemaker for small, family-owned boutique winery Brown Hill Estate, in Margaret River, began using Portavin’s mobile filtration service a couple of years ago to process reds. So pleased with the results and savings, he will be using the service to filter all his wines this year.

“Crossflow is softer on wine, which was one of the factors that drew me to it,” Bailey explains. “Plus, with our traditional filter, we never know exactly how many cartridges we’re going to use, so we never really know what the cost is going to be to run it. There have been some wines where we’ve gone through a number of cartridges to filter a particular batch. Crossflow has a specific charge per litre, so you know at the outset what it’s going to cost. It’s even cheaper when compared with traditional cartridges when they are working well.

“The other benefit of crossflow is that you can get the turbidity on spec,” Bailey says. “With regular filters this is not guaranteed. We’ve had instances in the past where we’ve put red wine through pad filters and the turbidity has not been low enough to put through the membrane of our bottling line.”

Bailey is also appreciating not having to carry out the task of filtration, freeing him up to concentrate on other tasks in

nathan bailey, winemaker for brown Hill estate, in Margaret River, is so pleased with the results and savings achieved from putting his reds through crossfl ow fi ltration that he will be fi ltering all his wines via this method this year.


the making of the winery’s 5000-case production.

Fellow Margaret River producer and crossflow convert is Mark Messenger, winemaker for Juniper Estate. Messenger’s foray into crossflow started when he began wanting to sterile filter all Juniper Estate’s red wines before bottling to reduce the risk of Brettanomyces.

“Crossflow was the best and most cost-effective way of doing that,” he said. “I was interested in crossflow filtration anyway, but the cost of buying a unit is quite prohibitive for a smaller winery.”

Messenger then learned of Vinro Wine Filtration, another mobile crossflow filtration provider servicing the WA wine industry, operated by Skigh McManus.

“I wouldn’t look back. Some of the wines, more so the younger reds, seem to be slower to process than others. But, otherwise, I’m very happy with the result.

“We make around 12,000 cases a year and do a lot of batch bottling. It’s cheaper for us to get Skigh in than go down the path of pad filtration. And we don’t have to deal with diatomaceous earth,” Messenger said.

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Mark Messenger, winemaker for Margaret River's Juniper estate, was initially attracted to crossflow filtration to sterile filter all the winery's reds before bottling to reduce the risk of brettanomyces.WVJ


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C losures have an important infl uence on wine quality during ageing in bottle. They have a direct affect on oxygen exposure and on the scavenging of volatiles in wine. The

scalping phenomenon should be taken into account when studying the development of wine post-bottling. A lack of small amounts of oxygen, either at bottling or as a result of oxygen permeation through the closures, results in undesirable reductive aromas such as cabbage, garlic, onion or rubber-like characters.

The reduced character in wine is generally associated with the presence of highly volatile sulfur compounds (VSC) such as hydrogen sulfide (H2S), methanethiol (MeSH), ethanethiol (EtSH), dimethyl sulfide (DMS), diethyl sulfide (DES) or dimethyl disulfide (DMDS). These sulfur compounds have a strong affect on wine aroma due to their high volatility and low odour thresholds. The flavour scalping or flavour scavenging phenomenon can be described as the direct sorption of volatile compounds and other food constituents by polymeric constituents in packaging.

Few studies have considered volatile scavenging by wine closures. Research on the interaction of the latter with flavour compounds started with the evaluation of sorption of chloroanisoles by cork stoppers. The broadening of the subject was undertaken by other studies, which considered a wider range of compounds (from 1,1,6-Trimethyl-1,2-dihydronaphthalene [TDN] to ethyl esters) and their interaction with several types of wine closures, concluding that relatively non-polar compounds were the most affected. Others decided to focus on specific families of wine compounds, like volatile phenols and methoxypyrazines.

Scalping of low VSC could explain why closures that allow wine to be exposed to similar quantities of oxygen lead to different levels of reduced off-flavours. We investigated the existence of scalping of low volatile sulfur compounds normally present in wine by cork stoppers and other types of closures. Five sealing systems were tested in the trial: a natural cork stopper (reference ‘natural superior’ 44mm length, 24mm diameter) and a microagglomerate cork stopper (44mm length, 24mm diameter), both obtained from Amorim SA; a synthetic closure (Nomacorc® classic, 43mm length, 22.5mm diameter); and two Stelvin screwcap closures, saran tin-foil and saranex, respectively.

Before being used, the stoppers (i.e., screwcap, cork and synthetic) were kept for two weeks in a closed container under a nitrogen atmosphere, which was periodically flushed and refilled in order to remove and limit the presence of oxygen inside the polymeric structures of the studied stoppers. Two important wine volatile sulfur compounds, hydrogen sulfide and dimethyl sulfide, were added to a previously degasified model wine solution (5g/L of tartaric acid, 12% ethanol with a pH adjusted to 3.5) at concentrations close to the maximum concentrations found in wines. Each batch of closure replicates soaked in

W I n e M A K I n G C L o s u R e s

Th e scalping of light volatile sulfur compounds by wine closuresBy Maria A. Silva, Michaël Jourdes, Philippe Darriet and Pierre-Louis Teissedre*Unité de recherche Œnologie EA 4577, USC 1366 INRA, Institut des Sciences de la Vigne et du Vin, Université Bordeaux Segalen, 210, chemin de Leysotte, 33882 Villenave d’Ornon Cedex, France*Corresponding author e-mail: [email protected]

Researchers from the oenology Research unit at bordeaux segalen university report on their investigations into the scalping of low volatile sulfur compounds normally present in wine by fi ve different sealing systems: natural cork stoppers, microagglomerate cork stoppers, synthetic closures and two stelvin screwcap closures.

A new twist on QR CodesQuick Response or ‘QR’ codes are a popular way to increase consumer interaction with a product or brand, and provide additional information via smart phone technology. Recognising this opportunity, Lark Hill Wines has partnered with Amcor to develop Australia’s first QR code on a wine screw-cap.

“With the industry looking for innovative ways to reach new and existing customers, we were only too happy to support this initiative and continue to develop print solutions that add value to the package without adding significant cost,” said Brian Lowe, Group General Manager of Amcor Beverages. “We see many future opportunities for this technology, which will support the wine consumption experience. It’s a great way to communicate with the consumer, particularly generation X and Y.”

Featuring QR codes on wine screw-cap closures enables consumers to easily access relevant information about that specific wine, such as wine tasting notes, complementary food styles and information on other vintages within the winery portfolio.

Lark Hill’s Winemaker and Director, Chris Carpenter says, “Every bottle is our business card – adding our QR code to the cap is our innovative way to create a highly visible, dynamic interaction with our customers far beyond the scope of conventional packaging. Whether it is scanned today or in 10 years’ time, this screw-cap provides an enduring link to Lark Hill.”

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W I n e M A K I n G C L o s u R e s

the solution of volatile sulfur compounds was followed by controls. Trials were executed using both one piece and 10mm cuts of cork and 10mm cuts of synthetic stoppers. The latter assay was performed in an attempt to reproduce a surface exposure that generally occurs during wine ageing in bottles. Closures were soaked using a solution with a concentration of 20µg/L-1 for each compound. Analysis of each soaking solution and the respective control (VSC only) was performed at the beginning of the trial (t0), after seven days (t7) and after 25 days (t25) of soaking and all samples were tested in triplicate and separately submitted to headspace analysis by gas chromatography.

HYDRoGen suLFIDe sCAVenGInG

The concentration of H2S with one-piece closures was assessed at the beginning of the experiment, and after seven and 25 days of soaking time (Figure 1). In spite of the efforts undertaken to minimise losses due to volatilisation and oxidation, the concentration in the control flasks was not steady throughout the experiment, namely during the first seven days. Still, the control was significantly different from other samples, namely from natural cork stoppers.

Sorption seems to exist, especially when comparing the concentration differences for both natural cork and synthetic closures. Even screwcaps provoked a slight decrease in the concentration of hydrogen sulfide, especially those having a polymeric liner (i.e., saranex).

When considering the sorption of hydrogen sulfide by closures, there seems to be a difference between synthetic and natural cork stoppers after the first seven days, but this tendency disappears after 25 days of soaking. The sorption mechanism with those two types of stoppers may be different as a consequence of the polymeric material they are made of (i.e., suberin, lignin and polysaccharides for natural cork and polyethylene for the synthetic cork). It seems that more compact and regular synthetic stoppers need more time to scavenge hydrogen sulfide. Furthermore, the chemical composition of the natural cork may facilitate the disappearance of H2S as a consequence of its reaction with cork components. The noticeable reduction in the concentration of H2S after 25 days of soaking - a relatively short period of time compared with normal wine storage times in bottle - indicates that the reported differences observed in bottling experiments may be, in fact, due to the

Figure 4. evolution of dimethyl sulfide with soaking time for each type of closure (10 mm cuts). C: control (no closure); no: synthetic closure; ne: microagglomerate cork closure; n: natural cork closure; sX: screwcap saranex; sA: screwcap saran. AnoVA to compare data; values with different letters within each row are significantly different (tukey’s test, p < 0.05).

Figure 1. evolution of hydrogen sulfide with soaking time for each type of closure (one piece closures). C: control (no closure); no: synthetic closure; ne: microagglomerate cork closure; n: natural cork closure; sX: screwcap saranex; sA: screwcap saran. AnoVA to compare data; values with different letters within each row are significantly different (tukey’s test, p < 0.05)

Figure 2. evolution of hydrogen sulfide with soaking time for each type of closure (10 mm cuts).C: control (no closure); no: synthetic closure; ne: microagglomerate cork closure; n: natural cork closure; sX: screwcap saranex; sA: screwcap saran. AnoVA to compare data; values with different letters within each row are significantly different (tukey’s test, p < 0.05).

Figure 3. evolution of dimethyl sulfide with soaking time for each type of closure (one piece). C: control (no closure); no: synthetic closure; ne: microagglomerate cork closure; n: natural cork closure; sX: screwcap saranex; sA: screwcap saran. AnoVA to compare data; values with different letters within each row are significantly different (tukey’s test, p < 0.05).


differences in the scalping or scavenging capacities of the different closures used. Nevertheless, when considering the 10mm cuts of the closure tops (Figure 2), the difference between closures diminished but it was still significant (p<0.001) between natural cork stoppers and screwcaps. These results are somewhat expected as a consequence of the considerable decrease in the surface area of the stopper in contact with the soaking solution. Still, it is noticeable that in a short period of only 25 days, almost 20% of the original amount of H2S has been sorbed in these conditions which are more akin to those found in bottled wine.

DIMetHYL suLFIDe sCAVenGInG

In contrast with H2S, which has been reported to accumulate in a different manner depending on bottling time and closure type, dimethyl sulfide (DMS) does not seem to be significantly affected by the type of closure used over time. Therefore, it was interesting to evaluate the behaviour of these compounds in the same experiment.

As in the case of H2S, the control DMS assay experienced a slight decrease of DMS over time; however, this was more pronounced in the latter stage (Figure 3). Nevertheless, the profile obtained for DMS for each type of closure was different since, although a significant decrease in the amounts of DMS for synthetic and natural cork closures was observed, there was no significant difference between these two types of closures in the first seven days, while after 25 days, natural cork closures seem to decrease more

the concentration of DMS. The level of DMS with screwcaps remains unaltered when compared with the profile shown with H2S. Moreover, when considering DMS scalping by the 10mm tops of natural cork and synthetic closures (Figure 4), a significant decrease in DMS concentration was again observed. However, like in the case of H2S, the decrease in the concentration was lower compared with the assay with the entire stopper in the soaking solution. Again, this result is somewhat expected given the considerable reduction in the surface area of the stopper in contact with the soaking solution.

Although DMS and H2S exhibit different reactivity, they seem to behave in a similar manner regarding the scalping phenomena with closure material. The results reported here provide new insight into the evolution of wine post-bottling, especially when considering the relationship between light volatile sulfur compounds and types of closures. Indeed, as some studies have reported for other types of compounds, VSC scavenging by natural cork or synthetic closures in model wine solution exists. Thus, closures directly affect not only the exposure of wine to oxygen, but also influence the concentration of DMS and H2S via the scalping phenomena.

Our results can be seen as an advance in the exhaustive research of the development of wine post-bottling, indicating that closures may directly affect the overall aroma perception by scavenging certain compounds to levels beneath their threshold.

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unDeRstAnDInG PHenoLICs

The great white wines of the world are in some way ‘textural’. Outstanding barrel fermented

Chardonnay wines are defined by a creamy in-mouth texture; Pinot Gris and Viognier by their oily character. Others produce a refreshing drying sensation that works well with food.

In the early 2000s, scientists at the

AWRI collaborated with The University of Adelaide to focus on texture. They recognised its importance and pioneered new sensory methods to evaluate textural characters in red and white wines.

For more than 40 years, researchers have known that phenolics play a role in producing these characters. Many winemakers have tried to reduce phenolic concentrations by using juice extraction or fining techniques, believing that phenolics undermine varietal characters, lead to premature oxidation, and create ‘coarseness’.

Other winemakers are more open to phenolics, using them to create complex, textural wines that complement food. According to Mark Lloyd, a long-time exponent of Italian varieties in Australia, this has caused disagreement in the context of one variety, Fiano: “There is an inherent conflict between the phenolic or ‘pithy’ character of the wine which is, on the one hand, the basis of its individuality and, yet, can be seen as a fault in contemporary winemaking circles” (Lloyd 2010).

It is not unusual for producers of other Italian, Spanish and Greek white varietals to use higher phenolic levels to create texture and complexity at lower alcohol levels. Today, a number of these varieties are being planted in Australia.

Some argue that texture defines a ‘typical’ varietal as much as aroma and flavour. A ‘typical’ Viognier offers ‘peach’ and ‘apricot’, but other varieties can also display these flavours. A ‘typical’ Viognier is also characterised by a rich, oily mouthfeel.

Similarly, palate texture can define style variations, with Pinot Grigio/Gris as a good example. The Italian approach to the variety is to harvest earlier, producing subtle flavour, light

body and crisp acidity. The Alsatian approach uses riper grapes; it also uses fermenting juices containing solids, often following skin contact. This results in more aromatic styles characterised by higher alcohol content, richer flavours and a full, oily texture. It is thought that higher phenolics – from later harvesting and greater maceration – contribute to the oily textures characteristic of ‘Alsatian style’.

Different types of phenolics are found in different parts of the white grape. The most abundant is caftaric acid, one of the hydroxycinnamic acids and partly responsible for white wine colour. Juice expressed from pulp is rich in these acids.

Pulp juice also contains benzoic acids: gallic is the most important. Flavonol glycosides are found exclusively in the skins. Like red grapes, white skins and seeds are

A W R I

Th e science of textureBy Richard Gawel, Martin Day, Alex Schulkin, Paul Smith, Markus Herderich and Dan JohnsonThe Australian Wine Research Institute, PO Box 197, Glen Osmond, Adelaide, SA 5064, Australia

Mangaging directorDan Johnson

At A GLAnCe• managing and creating ‘texture’

can help to create outstanding white wines

• astringency, hotness, oiliness, viscosity and bitterness are key textural characters

• phenolic compounds infl uence texture - but how strongly depends on pH and alcohol concentration

• measuring total phenolics can be a ‘blunt instrument’, as their effects are not simply additive – some phenolic compounds reduce phenolic characters produced by others

• acidity, alcohol and other parts of the ‘wine matrix’ also directly impact on texture, particularly in the production of astringency, hotness and viscosity.

Astringency, viscosity, oiliness, hotness and bitterness: these ‘textures’ infl uence white wine consumers and contribute to wine style. but what makes a wine ‘textural’? Phenolics, acidity and alcohol play important roles, but how? to fi nd out, researchers at the AWRI measured their effect on white wine texture and analysed interactions between them. A major fi nding was that some phenolics reduce rather than increase astringency and hotness of white wine.


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[email protected] www.seguin-moreau.fr

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A W R I

a major source of flavanols such as catechin and epicatechin. Two other important phenolics are tyrosol – produced by yeast during fermentation – and grape reaction product (GRP) created from the oxidation of caftaric acids.

‘CoARse’ oR ‘teXtuReD’?

The distinction between ‘texture’ and ‘coarseness’ is ill-defined. To better understand the science behind textural characters, researchers at the AWRI undertook a series of studies. Texture profiles were correlated with phenolic composition. The role of pH and alcohol on perception of ‘phenolic’ characters was also explored. The aim was to identify the compounds responsible for particular phenolic characters and determine the effect of juice extraction practices. The AWRI’s priority was to help winemakers make informed decisions about their management of phenolics to achieve desired wine styles.

PHenoLICs AnD teXtuRe

In white wine, the source of some textural characteristics remains a mystery. Hotness has been attributed to alcohol content; bitterness and astringency to phenolics. The sources of viscosity, oiliness and ‘coarseness’ remain unknown.

What is known is that these characters are likely to be of phenolic origin: the AWRI conducted two experiments to find out more. In the first, the AWRI collected phenolic compounds from a Clare Valley Riesling – chosen for its relatively low alcohol (11.4%v/v) and moderate phenolic content.

From other studies, it was established that wines made from hard pressings had around 30% more phenolics than wines made from free run juice. So, researchers added 30% more phenolics back to the same Riesling to make a higher phenolic wine in line with normal winemaking practices. Ethanol at 1.3%v/v was also added to some samples.

A trained tasting panel then rated the astringency, bitterness and hotness of the wines, with and without phenolics, and with and without added alcohol.

Adding 30% more phenolics produced slightly more astringent and bitter wines at low and high alcohol levels (Figure 1). Surprisingly, the phenolics also had a significant effect on hotness. At low alcohol levels, adding phenolics made the wine taste significantly hotter. At higher alcohol levels the wine also tasted hotter, but the effect was smaller. Here, it is important to note that phenolic hotness might be experienced differently to alcohol hotness. Phenolic hotness tastes more pungent and is felt at the back of the throat, whereas alcoholic hotness is experienced throughout the mouth. Regardless of such differences, higher phenolic wines were perceived to be hotter, particularly when alcohol levels were lower.

In a second study, researchers at the AWRI added phenolics from three different varieties to two different base wines at two alcohol levels. The phenolics were extracted from Australian Viognier, Fiano and an Alsatian Gewurztraminer. They were added to a Clare Valley Riesling (12.5%v/v) and a McLaren Vale unwooded Chardonnay (13.7%).

This time, researchers found that alcohol levels played a bigger role. Adding phenolics increased the hotness of the lower alcohol Riesling wine, but not the higher alcohol Chardonnay wine (Figure 2, see page 32).

Perceived viscosity was also analysed. It was found that all three phenolic extracts increased perceived viscosity of the Chardonnay and Riesling base wines (Figure 3, see page 32, shows the effect averaged across the three phenolic types).

In the higher alcohol Chardonnay (Chardonnay wine +1% added alcohol), adding phenolics did not affect viscosity, however. This showed that phenolics might have a limited impact on texture in higher alcohol wines.

Figure 1. tastes and textures of a Riesling wine, with and without added phenolics and 1.3% alcohol (striped bar).

▶


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Figure 2. Perceived hotness and viscosity of Riesling and Chardonnay wines to which 1% alcohol was added (striped bar), and phenolics added (average of the ratings after adding phenolics from three different wine varieties).

Figure 3. sensory and style ratings modelled on wine composition including phenolics. bars above 0 represent a positive relationship and those below a negative relationship. tA=titratable acidity, GF= glucose + fructose. A280 equates to total phenolics, and A320 equates to total hydroxycinnamates.


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PHenoLICs AnD stYLe PeRCePtIon

The AWRI’s next study analysed phenolics and the wine ‘matrix’ (alcohol, pH, acidity and residual sugar) to correlate tastes and textures with the composition of finished wines.

For this study, a range of Pinot Gris/Grigio wines including higher alcohol, lower acidity wines (‘Gris’ like), and lower alcohol, higher acidity wines (‘Grigio’ like) were used. Tasters had five to 25 years’ experience – many were winemakers.

It was found that pH and alcohol play a major role in the perception of tastes and textures normally associated with phenolics.

Higher pH wines were generally less astringent, and wines higher in titratable acidity were generally less viscous and oily. In these wines, bitterness was driven mainly by matrix elements, with alcohol adding to it and acidity masking it. Phenolic content was far less important in the perception of bitterness. Given that ethanol has a bitter component, and basic tastes such as acidity and bitterness mutually suppress each other, these results are not surprising.

Even though ‘dry’ wine styles were used, low levels of residual sugar were still associated with viscosity and oiliness. The patterns of viscosity and oiliness were almost identical, except that the more ‘oily’ wines generally contained higher alcohol. This suggested that alcohol contributed to palate oiliness but not, necessarily, to viscosity.

When considering each character individually, phenolics appeared to have less influence than alcohol, acidity or residual sugar. But when

it came to differentiating ‘Pinot G’ wines, total phenolics were significant, contributing positively to overall perception of ‘Pinot G’ wine style.

tHe eFFeCts oF JuICe eXtRACtIon AnD HAnDLInG on teXtuRe

Winemakers can use juice extraction and handling methods to manage phenolics. Pressing whole bunches can produce low phenolic juices; adding pressings or contacting with skins before fermentation can produce higher phenolic juices with greater flavour intensity.

Winemakers can reduce phenolics by fining or by hyperoxidising the juice prior to fermentation. To assess the effect of winemaking on ‘phenolic’ character, the AWRI produced duplicate ferments of Eden Valley Riesling, Barossa Valley floor Chardonnay and Adelaide Hills Viognier wines.

Juices were used that were whole bunch pressed (WBP); hyperoxidised free run and pressings (HOX-FR, HOX-LHP); free run (FR); lightly pressed (LP); heavily pressed (HP) and extensively skin contacted (MAC). A trained tasting panel then profiled their textures (Figure 4).

The winemaking methods that produced higher phenolics resulted in greater bitterness. The idea that higher phenolics always result in greater bitterness requires re-assessment, however. It was found that bitterness and higher phenolic levels were not always connected: a more likely explanation for bitter characters was one group of phenolic compounds – the flavonones and flavonols.

Measuring total phenolics is not

Figure 4. texture ratings resulting from different juice extraction and handling processes averaged across three varieties. treatments are ordered from lowest to highest total phenolics. At=aftertaste.


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V27N6 Wine & Viticulture Journal NOVEMBER/DECEMBER 2012 www.wineb i z .com.au 67

altERNatIVE VaRIEtIEs V I t I C u l t u R E

When I moved to McLaren Vale six years ago, after a decade spent buying wine for restaurants in

New York City, I started thinking about new varieties we could plant on our vineyard that would not only thrive in McLaren Vale, but make for interesting drinking as well. The drought years had been making life hard, even for our Shiraz and Cabernet Sauvignon plantings, and we felt we needed to find some better suited grapes to bring onboard. Nero d’Avola fitted the bill.

In 2009, Brash Higgins obtained some of the first cuttings of the Sicilian red winegrape Nero d’Avola available in Australia from Binjara Vine Nursery (formerly Chalmers Nursery), in Euston, New South Wales. Nero d’Avola is drought and heat tolerant to a certain degree, ripens late and thrives in its native Mediterranean climate, so it seemed like a good fit for coastal McLaren Vale and our ever-mounting heat and water issues.

VItICultuRE

2009-2010In October 2009, we dedicated a half-

hectare research block on our Omensetter

Vineyard to Nero d’Avola. Soils in this block are relatively shallow (40-50cm) red brown clay loam over a deep, soft marl limestone. In the winter of 2009, we asked Dr Nuredin Habili, of Plant Diagnostics, at the Waite campus of The University of Adelaide, to perform a virus test on our Shiraz rootstock, which was planted in 1997. The results came back affirmative to graft Nero d’Avola. Field grafting was conducted later, using two buds per vine on the Matura 1 clone from the Matura Group, in Italy. The clones grew exceptionally well, exhibiting great vigour and not needing any irrigation until the first week of December, followed by small amounts on a regular basis until mid-February. Vines were trained on a single cordon trellis, and the cordon was filled by February 2010. We noted that foliage was prone to powdery mildew.

2010-11The first fruit bearing year, we pruned

the lateral growth hard from the main cordon back to basal buds. Vines grew strongly, with many double buds providing two shoots per node. These were shoot-thinned back to one shoot per node. A lazy ballerina trellising system was used,

Italian inspiration for novel Nero d’Avola makingBy Brad Hickey, Brash Higgins Wine Co., McLaren Vale, South Australia

Mclaren Vale-based Nero d’avola producer Brad hickey travelled to sicily, in Italy, in 2011 to investigate local growing and vinification of the variety. In addition to collecting ideas about how to maximise Nero d’avola’s potential on home soil, Brad was inspired to use amphorae as a winemaking technique.

Mclaren Vale’s Brash higgins obtained some of the first cuttings of Nero d’avola available in australia from Binjara Vine Nursery (formerly Chalmers Nursery) at Euston, in New south Wales in 2009 and planted half a hectare.

V27N6 Wine & Viticulture Journal NOVEMBER/DECEMBER 2012 www.wineb i z .com.au 99

Jeremy DineenWinemaker/general managerJosef Chromy Winestamar Valley, tasmaniaWine: Pepik NV sparkling Rosé (RRP$27.00/bottle)

VItICultuRE

Fruit for the Pepik NV Sparkling Rosé is estate-grown from our vineyard at Relbia, 15km south of Launceston, Tasmania. The vineyard contains 61ha of vines and has an elevation of 85-170m with north and north-east facing slopes. The soils range from deep, black, self-mulching clay to shallow brown clay with high gravel content.

The mean January temperature for the area is 16.7°C. It receives an average of 679mm per annum, with 94 rains days. The vines enjoy 1050 heat degree days, and 1758 sunshine hours (October-April).

The average age of the vines in the vineyard is 13 years, which are on a mixture of own roots and rootstocks.

The blend for the Pepik is usually Pinot dominant with some Chardonnay. The Pinot clones planting in the vineyard comprise D2V5, D5V12, G5V15, G8V3, G8V7, H7V15, 115 and 114.

The Chardonnay clones are I10V1 and Penfolds.

The vines are trained to Scott-Henry and VSP trellises and have a vine density of 3220 per hectare and 2415 per hectare, respectively. All vines are crown thinned every year. Shoot and/or bunch thinning is carried out depending on the year.

The amount of drip irrigation, which is sourced from our on-farm dam and nearby river, depends on the season.

A permanent sward is grown in the mid-rows to reduce erosion with farm-produced composts also applied.

The vines are mainly hand cane-pruned with limited mechanical spur pre-pruning carried out.

Botrytis is the biggest disease risk to the vines, which yield an average of 11.5 tonnes per hectare.

WINEMaKINg

The hand-picked Pinot Noir is whole bunch pressed, giving a free run of usually 500L/tonne and pressings of 200L/tonne. The hand-picked and/or machine-picked Chardonnay is pressed to 500L/t free run and 200L/t pressings. The pressings are fined separately while the base juices are settled and combined prior to the primary ferment. Malolactic fermentation is not carried out.

The juice is cold stabilised, partially heat stabilised and cross-flow filtered.

The secondary ferment is commenced in tank and bottled when the viable cell count has reached its target (tirage ferment approximately 15°C).

The wine is bottle aged for 12-18 months prior to disgorging. The dosage liqueur contains Pinot Noir table wine to ensure a consistent salmon pink colour. It is dosed to contain a final sugar content of 10-12g/L.

V a R I E t a l R E P O R t

Putting the sparkle in sparkling roséIn keeping with the approaching festive season, this issue’s tasting featured sparkling rosés, 28 in all, ranging from non-vintage examples through to one from the 2003 vintage. the tasting panel identified the top wine or wines from the non-vintage entries, those from the 2012 to 2009 vintages and the 2008 to 2003 vintages (see page 102-106 for the complete results), with the producers behind three of those wines revealing what went into their making.

Josef Chromy Wines winemaker and general manager Jeremy Dineen.

Josef Chromy Wines in tasmania’s tamar Valley.

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A W R I

always helpful, therefore. It can be a ‘blunt instrument’.

Similarly, higher phenolic wines seemed less astringent and more viscous, but the analysis showed that pH is also a major factor. Winemaking techniques that result in greater skin maceration, such as hard pressings or skin contact, tend to be naturally higher in pH.

In the wines made for this study, 75% of the variation in astringency, and 66% of the variation in viscosity could be attributed to pH differences. Lower pH was associated with higher astringency and higher pH with greater viscosity.

Do ALL PHenoLIC CoMPounDs ContRIbute to PHenoLIC CHARACteRs?

The answer is a resounding ‘no’. Surprisingly, the final research study showed that some of the major phenolic compounds found in the pulp of white grapes might even reduce ‘phenolic’ textures.

Purified caftaric acid and GRP isolated from real white wines were added to a model wine (comprising water, alcohol and tartaric acid). Adding GRP reduced overall astringency; it also contributed to an increase in the pungent aftertaste – though adding caftaric acid negated the aftertaste effect.

Lastly, GRP contributed to oily texture. Interestingly, these two major phenolic compounds in white wine - caftaric acid from the pulp and GRP formed during oxidative handling of juice – did not significantly affect bitterness.

The AWRI’s work on the wines from the Barossa, Eden Valley and Adelaide Hills demonstrates that phenolics contribute to bitterness, but this final study showed that some of the major white phenolic compounds are not responsible. Instead, they may reduce other textures arising from alcohol and acidity. Their contribution to textures such as astringency, pungency and oiliness is not as great as might be expected.

Further details of this work can be found at:

http://www.gwrdc.com.au/wp-content/uploads/2012/09/AWR-0901-FINAL-REPORT.pdf

ACKnoWLeDGeMents

This project was supported by Australia’s grapegrowers and winemakers through their investment body, the Grape and Wine Research and Development Corporation, with matching funds from the Australian Government. The authors would also like to thank Orlando Wines for its financial support in this work. Dr Elizabeth Waters is also acknowledged for her contribution to this project. Sharon Mascall-Dare and Rae Blair are thanked for their editorial assistance. The AWRI is part of the Wine Innovation Cluster in Adelaide, South Australia.

ReFeRenCe

Lloyd, M. (2010) Fresh Fiano a friend of food. Australian Viticulture 14(4):69-73. WVJ


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IntRoDuCtIon

The earlier onset of ripening and higher sugar concentration in the last decade or so has been

attributed to a warmer climate, lower yields, improved vineyard management practices, improved clones and delayed harvest to achieve more full-bodied wines. The resulting higher alcohol wines have, in some cases, attracted negative responses from various quarters. Although the technology now exists to lower wine alcohol content post-fermentation, it would be useful to start the process in the vineyard.

The rate of sugar accumulation in berries is largely determined by the ratio of leaf area to fruit weight (LA/FW)1. However, fl avour and phenolic ripeness might be independent of LA/FW. Vine balance can be defi ned as being achieved when vegetative vigour and fruit load are in equilibrium and consistent with high fruit quality2. Yield-to-pruning-weight ratio (Y/P) is commonly used as an index of vine balance—with values in the range 5:1 to 10:1 generally considered to be optimal. However, lower values might be appropriate for certain varieties and cool climate regions3. Vines that are not balanced in the sense that vegetative vigour is too high relative to fruit load, i.e., under-cropped, might cause berry sugar to reach an unacceptably high concentration by the time that fl avour or phenolic ripeness is judged to be optimal for a particular wine style. The following two studies on Cabernet Sauvignon in California are used to support this proposition.

tHe eFFeCts oF VIne bALAnCe

The purpose of the first study was to examine how Y/P influenced

the accumulation of key aroma compounds during berry ripening in commercial vineyards at Lodi, Sonoma and Napa4. Approximately three weeks after fruitset, vines were bunch thinned to achieve three crop levels: ‘under-cropped’, ‘over-cropped’ and ‘balanced’, based on historical yield and pruning weight data. Concentrations of -damascenone and isobutylmethoxypyrazine in berry samples were converted to odour activity values (OAV) as indicators of ‘dark fruit’ and ‘green fruit’ aromas, respectively. Balanced vines (mean Y/P = 8:1) reached the target sensory threshold (a minimum ratio of dark fruit OAV to green fruit OAV of 300) at lower °Brix than under-cropped vines (mean Y/P = 3:1)—mean Brix was approximately 3.5 degrees lower for balanced vines (Figure 1). Over-cropped vines (mean Y/P = 14:1) reached similar °Brix levels as the other treatments, but failed to reach the minimum OAV ratio for acceptable sensory attributes. Soluble solids accumulation increased as Y/P decreased, but balanced vines accumulated -damascenone more rapidly relative to change in Brix than the other treatments (data not shown).

The second study was conducted in a commercial vineyard in Paso Robles over three seasons5. Four cropping levels were achieved by bunch thinning approximately mid-way between fruitset and veraison. Also, there were five target Brix levels for each cropping level. Wines were made in 500kg lots each season and evaluated by a combination of expert and consumer sensory panels and descriptive analysis. In the second season, the highest yielding treatment

(14t/ha; Y/P = 4.0:1) reached maximal consumer likeability score at 24°Brix, whereas the lowest yielding (6.3t/ha; Y/P = 1.4:1) did not do so until 27°Brix. In the three-year summary of descriptive analysis, the wines from high yield (balanced) vines correlated most strongly with desirable berry, body and colour depth, whereas wines from lowest yielding (under-cropped) vines correlated most strongly with undesirable vegetative character and astringency.

These studies indicate that under-cropped vines, often the result of excessive bunch thinning, produced fruit that accumulated positive aroma compounds at a slower rate and green aromas at greater rate than balanced vines. In unbalanced (under-cropped) vines, sugar ripening is too rapid relative to flavour ripening (and perhaps also development of phenolics/mouthfeel).

In theory, it should be possible to delay sugar accumulation relative to other compositional changes during ripening, so as to achieve better synchronisation of sugar and flavour/phenolic ripening and wines of lower alcohol concentration without any untoward effects on flavour and structure. This may be done by reduction of leaf area, reduction of photosynthetic rate or increased irrigation just before harvest.

LeAF AReA ReDuCtIon bY DeFoLIAtIon oR sHoot tRIMMInG

A reduction of leaf area after fruitset can be achieved by defoliation or by shoot trimming (reduction of leaf number per shoot). Although research on this topic to date is limited, some studies have reported

V I t I C u L t u R e L o W A L C o H o L W I n e

Can the production of low alcohol wines start in the vineyard?By Dr Peter Dry, The Australian Wine Research InstitutePO Box 197, Glen Osmond, SA 5064. Email: [email protected]

In theory, it should be possible to delay sugar accumulation in grape berries relative to other compositional changes during ripening to achieve wines of lower alcohol concentration without any untoward effects on fl avour and structure. this article provides evidence for the proposition that vine balance might be the key to achieving good synchronisation of sugar accumulation and ‘fl avour’ ripening. It also reviews the effect of vineyard practices that reduce leaf area to fruit weight to slow down sugar accumulation which have had variable effects on fruit composition and wine quality.


L o W A L C o H o L W I n e V I t I C u L t u R e

Figure 1. Influence of yield:pruning weight ratio (FW:PW) on brix and odour activity values of b-damascenone (‘dark fruit’) and isobutylmethoxypyrazine (‘green fruit’) in Cabernet sauvignon berries at harvest. each data point represents a single replicate. Redrawn from Figure 3, Dokoozlian, n.; ebisuda, n. and Cleary, M. (2011) some new perspectives on the impact of vine balance on grape and wine flavour. Proc. 17th GIesCo meeting, Asti/Alba Italy. 407-409.


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the success of these approaches. For Riesling in the Rheingau, Germany, reducing LA/FW after flowering with either mechanical defoliation or shoot hedging by 28% and 57%, respectively, caused a delay in maturity by 14-20 days without any effect on titratable acidity (TA) or pH6. Similarly, Whiting7,8 achieved a significant delay in sugar accumulation for Shiraz grapes at Bendigo when the leaf area was reduced by more than 50% at any time from the end of rapid shoot growth to veraison — yield was not affected but anthocyanin concentration was reduced. At the same harvest date, treated wine had 2% lower alcohol than the control, but the wine score was also significantly reduced. The author concluded that this technique may be suitable for production of lower alcohol white wines, but not for red. Pre-veraison removal of all lateral shoots from the basal six nodes of Montepulciano vines in Marche, Italy, reduced LA/FW by 27% but had no significant effect on yield, Brix, TA , pH or total anthocyanin concentration relative to untreated vines9.

There have also been variable responses to shoot trimming. Sangiovese vines in Emilia Romagna, Italy, were subjected to either light trimming (14 nodes retained per shoot) or severe trimming (10 nodes per shoot) at 15°Brix10. Over three seasons, a 2°Brix reduction for severely trimmed vines in one season was the best response. Yield reduction ranged from 6-24% less than the control. There was no effect on anthocyanin concentration in two out of three seasons, and slight reduction in the other season. In another study, shoots of Tempranillo and Grenache bush vines in Rioja, Spain, were severely trimmed (cut at node above distal bunch) by hand

just after fruitset11. Veraison was delayed by 20 days. For Tempranillo, at the same harvest date, fruit on trimmed vines (LA/FW = 0.64) was 3.5°Brix lower than the control (LA/FW =1.88) but there was also a small but significant reduction in yield and total anthocyanin concentration.

In many regions in Australia, defoliation should be trialled with caution because it may cause excessively-delayed ripening at high crop loads or could lead to excessive bunch exposure and, therefore, heat-damaged fruit.

AntI-tRAnsPIRAnt FoLIAR sPRAY

One technique that does not require physical reduction of leaf area—and consequent increased bunch exposure—is the use of a foliar spray of a film-forming anti-transpirant. Palliotti and colleagues12 carried out foliar applications of Vapor Gard® (also known as pinolene) which was shown to cause a temporary limitation of photosynthesis of field-grown grapevines12. In an experiment with Sangiovese field vines in the Marche, Italy, Vapor Gard was applied to foliage at the end of veraison, and again two weeks later. Both high and medium crop loads were achieved by bunch thinning at veraison. Photosynthesis was inhibited for about 30 days. There was no effect on canopy density, leaf area per vine, LA/FW or yield components. The anti-transpirant spray significantly reduced soluble solids accumulation: berry Brix at harvest was approximately 2° lower for medium crop load and 3° for high crop load. However, the anti-transpirant treatment also slightly reduced the concentrations of anthocyanins and polyphenols at the same Brix12.

IRRIGAtIon stRAteGY

Anecdotally, increased irrigation during the last few weeks before harvest has been claimed by some winemakers to cause a significant delay in ripening with concomitant reduction in wine quality. However, this is not necessarily supported by experimentation. When irrigation applied to Cabernet Sauvignon in a hot region of California was doubled for the period of ripening from 22°Brix to harvest, there was only a slight reduction in wine ethanol concentration in one out of two seasons5. Furthermore, similar irrigation practices have shown no significant effect on wine sensory score or wine composition13, 14.

otHeR FACtoRs

In some regions, winemakers are not willing to harvest until the green character in fruit, as determined by berry sensory evaluation, drops to a level that they consider to be appropriate for the intended wine style. High alcohol concentration in the final wine might, therefore, be a consequence of an extended ‘hang-time’. Therefore, any viticultural practice that reduces the concentration of methoxypyrazines at veraison will potentially enable fruit to be harvested earlier at lower soluble solids. The degree of bunch exposure pre-veraison can influence the accumulation of methoxypyrazines, but it does not appear to have much effect on degradation after veraison. Leaf removal in the bunch zone prior to veraison will decrease levels at harvest, but leaf removal at veraison or later has little effect15, 16, 17. High levels at harvest are associated with any factor that stimulates pre-veraison shoot vigour18. There might be a direct effect of shoot vigour on methoxypyrazine concentration that is independent of the degree of bunch exposure, i.e., the higher the vigour, the greater the concentration19. Shoot vigour may be reduced by deficit irrigation, various soil management practices or by downward shoot positioning20.

ConCLusIons

Vine balance might be the key to achieving good synchronisation of sugar accumulation and ‘flavour’ ripening. Accumulation of aroma compounds, berry colour and mouthfeel compounds appears to be uncoupled from sugar accumulation. Optimal flavour in berry and wine might be achieved at lower sugar levels in balanced vines relative to under-cropped vines. Irrigation for the last few weeks prior to harvest does not reduce Brix. Practices that reduce leaf area to fruit weight can slow down sugar accumulation, but there have been variable effects on fruit composition and wine quality. Although there might be negative effects for red wine varieties, there might be potential for whites and, for this reason, research is ongoing. On a recent trip to Geisenheim, Germany, I was shown experiments being conducted on the effect of shoot trimming, defoliation and anti-transpirant spray on Riesling by Vanessa Schoebe, a PhD candidate supervised by Dr Manfred Stoll.


LIteRAtuRe CIteD

1Kliewer, M. and Dokoozlian, N. (2005) Leaf area/crop ratios of grapevines: influence on fruit composition and wine quality. Am. J. Enol. Vitic. 56:170-181.

2Gladstones, J. (1992) Viticulture and Environment. Winetitles.

3Dry, P.R.; Iland, P.G. and Ristic, R. (2005) What is vine balance? Proc.12th Aust Wine Ind. Tech. Conf., Melbourne, 2004. 68-74.

4Dokoozlian, N.; Ebisuda, N. and Cleary, M. (2011) Some new perspectives on the impact of vine balance on grape and wine flavour development. Proc. 17th Int. GiESCO Symposium; Asti/Alba Italy, Aug 29-Sep 2, 2011. 407-409.

5McDonnell, C. (2011) Effect of crop load and extended ripening on wine quality and vine balance in Cabernet Sauvignon. PhD thesis, University of Adelaide.

6Stoll, M.; Scheidweiler, M.; Lafontaine, M. and Schultz, H. (2009) Possibilities to reduce the velocity of berry maturation through various leaf area to fruit ratio modifications in Vitis vinifera L. Riesling. Proc. 16th Int. GiESCO Symp., Davis CA, USA. 93-96.

7Whiting, J. (2010) Regulating winegrape sugar accumulation through leaf removal. Aust. NZ Grapegrower & Winemaker 555:18-20.

8Whiting, J. (2012) Leaf removal and harvest timing effects on Shiraz wine composition and assessment. Wine Vitic. J. 27(3):44-47.

9Silvestroni, O.; Bravetti, B.; Lanari, V.; Lattanzi, T.; Versari, A. and Parpinello, G. (2011) Crop load is more effective than canopy density in influencing grape berry and wine composition of Montepulciano (Vitis vinifera L.). Proc. 17th Int. GiESCO Symposium; Asti/Alba Italy, Aug 29-Sep 2, 2011. 523-526.

10Rombolla,A.; Covarrubias, J.; Boliani, A.; Marodin, G.; Ingrosso, E. and Intrieri, C. (2011) Post-veraison trimming practices for slowing down berry sugar accumulation and tuning technological and phenolic maturity. Proc. 17th Int. GiESCO Symposium; Asti/Alba Italy, Aug 29-Sep 2, 2011. 567-570.

11Balda, P. and Martinez de Toda, F. (2011) Delaying berry ripening process through leaf area to fruit ratio decrease. Proc. 17th Int. GiESCO Symposium; Asti/Alba Italy, Aug 29-Sep 2, 2011. 579-582.

12Palliotti, A.; Lanari, V.; Lattanzi, T.; Borgheis, L. and Silvestroni , O. (2011) Effects of anti-transpirant foliar spray during ripening on must composition of Sangiovese grapevines with different crop loads. Proc. 17th Int. GiESCO Symposium; Asti/Alba Italy, Aug 29-Sep 2, 2011. 519-522.

13Sanchez, L.A.; Mendez, M.P. and Dokoozlian, N. (2007) Irrigation levels during the latter stages of ripening influence vine yield components and physiology but have little impact on fruit and wine composition in Merlot (Vitis vinifera L.) grapevines. Proc. 15th Int. GESCO Symp., Porec, Croatia. 758-766.

14Mendez-Costabel, M. (2007) Impact of irrigation levels during the latter stages of fruit ripening on the yield components, physiology and

berry and wine composition of Vitis vinifera L. MS thesis, University of California, Davis.

15Roujou de Boubee, D.; Cumsille, A.; Pons, M. and Dubourdieu, D. (2002) Location of 2-methoxy-3-isobutylpyrazine in Cabernet Sauvignon grape bunches and its extractability during vinification. Amer. J. Enol. Vitic. 53:1-5.

16Sala, C.; Busto, O.; Guasch, J. and Zamora, F. (2004) Influence of vine training and sunlight exposure on the 3-akyl-2-methoxypyrazines content in musts and wines from the Vitis vinifera variety Cabernet Sauvignon. J. Agric. Food Chem. 52:3492-3497.

17Scheiner, J.; Sacks, G.; Pan, B.; Ennahli, S.; Tarlton,L.; Wise, A.; Lerch, S. and Vanden Heuvel, J. (2010) Impact of severity and timing of basal leaf removal on 3-isobutyl-2-methoxypyrazine concentration nine red winegrapes. Amer. J Enol. Vitic. 61:358-64.

18Ryona, M.; Pan, B.; Intrigliolo, D.; Lakso, A. and Sacks, G. (2008) Effects of cluster light exposure on 3-isobutyl-2-methoxypyrazine accumulation and degradation patterns in red wine grapes cv. Cabernet Franc. J. Agric. Food Chem. 56:10,838-10,846.

19Lakso, A. and Sacks, G. (2010) Growing season dynamics - vine balance impact on methoxypyrazines. Practical Winery and Vineyard. May/June. 35-49,73.

20Dry, P.R. and Loveys, B.R. (1998) Factors influencing grapevine vigour and the potential for control with partial rootzone drying. Aust. J. Grape Wine Res. 4:140-148.

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V I t I C u L t u R e t o n Y H o A R e

Any footballer or basketball player will know about ‘hangtime’. Legends are created from

hangtime and stories recounting it can span generations. Whilst the stories can be exaggerated, there is no denying the magic when a person is completely airborne and about to either pluck a football out of the air or slamdunk a basketball into the hoop.

Hangtime has another meaning. It is also an expression used to describe the late ripening period of winegrapes. Also referred to as oenological maturity, this is the period where all aspects of winegrape maturity have reached their optimum level and harvesting occurs. Anyone who has taken a ‘hanger’ during their footy career will know there are few better feelings, and the memory lasts a lifetime. Mistimed hangtime

results in bitter disappointment and pondering what could have been, which can also last a lifetime. Winemakers and winegrape growers can also relate to this feeling and understand the importance of optimising hangtime to ensure the best result for long lasting happy memories.

Winegrape maturity is a complex process requiring grower and winemaker to make a decision to harvest to maximise the sensory potential and meet or exceed winery expectations. Winegrape varieties are genetically programmed to produce characteristic flavour and aroma profiles that identify their variety. Vineyard management and climate have a significant influence on the expression of genetic potential and, therefore, the final characteristics

of winegrapes. The production and conversion of this genetic potential, maximising of vineyard management practices and influence of seasonal climate can get down to just one factor - harvest timing.

Predicting when to harvest winegrapes at their optimal maturity requires a number of skills. Hangtime is a critical period at late veraison when fi nal winegrape characters can be harnessed or lost. Being able to predict the optimal harvest date requires a number of skillsets, experience and an understanding of the phases of winegrape maturity.

PHAses oF WIneGRAPe MAtuRItY

Pre-veraison - genetic predispositionGene expression for fl avour and aroma

compounds are pre-programmed in

Hangtime – optimising harvest timing: Part 1

Predicting a vineyard’s optimum ‘hangtime’ - an expression used to describe the late ripening period of winegrapes – can make or break harvest in terms of fruit quality. In this article, tony Hoare canvasses the various factors that effect winegrape maturity to assist growers to be able to predict the optimal harvest date of their crops.

Winemakers and grapegrowers can relate to the feeling that comes with taking the perfect ‘hanger’ on the football field through optimising their own version of hangtime.

By Tony HoareHoare Consulting, PO Box 1106, McLaren Flat 5171 South Australia. Email: [email protected]


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winegrape varieties. Their expression is dependent on both cultural and climatic factors with the critical period for expression being the latter stages of ripening.

Veraison The period of vine and berry growth

(ripening) when the genetic potential for flavour, aroma and texture of winegrapes is influenced by environmental and management intervention.

1. Herbaceous phase - embryo development and cell divisions

Winegrape maturity, or berry ripening, is initiated at veraison when berry volume increases rapidly five days after the beginning of sugar accumulation and softening (Coombe 1992, Huang and Huang 2001). The expansion in berry size is due to a combination of cell division and cell expansion (Ojeda et al. 1999). Accumulation of solutes (malic and tartaric acids, tannins, hydroxycinnamic acids - precursors of phenolic volatiles - and aroma compounds) also takes place in different tissues of the berry. Tannin synthesis occurs and is completed by veraison in red grape skins

2. Veraison phase This transition phase is chartacterised

by a change of berry skin colour from green to white or red, depending on variety, the beginning of berry softening and a sudden increase in the rate of sugar accumulation. A period of synthesis of anthocyanins in red berries also occurs, as well as tannin synthesis in seeds and tannin maturation in skins and seeds.

3. Maturation PhaseThis is the critical phase for

making the correct harvest decision and maximising hangtime. Flavanol production occurs. These are the secondary metabolites responsible for flavour and aroma compound expression

in wine. Flavonols, such as terpenoids (aromas) and phenolics (colour and precursors for tannin), are produced and decomposed at various rates depending on environmental conditions. Seed ripening corresponds with changes in the phenolic composition of berries, so the colour of seeds can be used as an indicator of overall berry ripeness (Ristic and Iland 2008).

tHe IMPoRtAnCe oF VIne bALAnCe on RIPenInG

Vine balance in relation to winegrape maturity is when a vine has the natural and supplementary resources available to ripen fruit to a level of yield in a timely manner, based on the regional climate where they are grown. Winegrape maturity is directly influenced by vine balance. Experience has shown me that balanced vines also have the greatest likelihood of producing high quality winegrapes.

The earlier winegrapes can reach optimal ripeness the less time spent in the vineyard, the lower the risk of yield loss or compromised fruit quality through pest and disease damage occurring or exposure to extreme heat and wet weather events. Over-cropped or high vigour red varieties in cool climates can be caught short with maturity in early cool autumnal weather conditions or late season defoliation from heat stress or rust mite. In this instance, tannin maturity is also compromised. Heavy crops are very vulnerable to extreme late-season weather, especially when trying to apply late-season disease sprays to large canopies. Larger crops can also deplete resources such as irrigation water before fruit is picked.

Grapevines have a certain capacity to ripen a certain yield to a certain quality. This is influenced by factors arising from seasonal weather and vineyard management. Over-cropped vines will sometimes shut down due

to the stress of carrying a large crop beyond its capacity to ripen fruit. They are more sensitive to extreme heat and can suffer more negative symptoms such as defoliation and berry shrivel with less ability to recover.

A balanced vine will cease vegetative growth by veraison and achieve early lignification of canes. The production of abscisic acid, known as the ripening hormone, occurs earlier in balanced and low vigour vines. This hormone is responsible for cane lignification, phenolic production as well as red winegrape colour.

Low vigour vines generally do not have the same ability for extended hangtime due to a more rapid rate of winegrape maturity. Low vigour also has a negative effect on winegrape maturity. Over-exposed winegrapes due to a small canopy and ‘dappled light’ from leaves are more prone to sunburn. Loss of vine leaf function will result in a loss of physiological ripening and result in fruit at harvest that displays unripe characteristics or relies on dehydration to concentrate colour in red varieties and flavours. Sunburnt winegrapes can exhibit less desirable, over-ripe flavour and aroma characters in both red and white varieties and, as a result, lower wine quality. Low vigour vines have less potential for carbohydrate storage for the following season and delayed or uneven budburst. Weaker vines are more prone to trunk diseases and reduced fruitful spur positions in permanent cordon trellis arrangements

VIneYARD FACtoRs InFLuenCInG WIneGRAPe MAtuRItY

SiteThe influence of site on winegrape

maturity and wine quality is significant. The French concept of terroir encapsulates the influence of a natural location and human intervention on ▶



the final attributes of a wine. Natural site characteristics of climate, soil, topography, proximity to water, prevailing winds, surrounding vegetation, biodiversity, etcetera, are all influential on harvest date and wine quality. The management of vines on a particular site as well as the allocation of resources, such as water and nutrition, mid-row and undervine management in combination with trellis type, planting density, canopy management and pruning, all have an influence.

Vine ageAs vines age their balance can

improve naturally, especially when vines

are planted on the right site. Vine yield and vigour generally decline to a point where the vines can reach a natural balance without as much manipulation through vineyard management as younger vines. As vine roots penetrate deeper soil strata over time, they access more soil minerals which have been shown to have an effect on the organoleptic qualities of wine.

In general, older vines have more resilience to weather extremes, in particular, extreme heat events. Their lower vigour also results in more open canopies and can assist in lowering pest and disease pressure. The increased age of vines can contribute to improved wine quality through their ability to ripen fruit

during veraison. The natural balance between fruit yield and vegetative growth gives older vines the advantage over younger vines that may need manipulation of canopies and crop loads to achieve optimal ripening.

The added benefit of vine age as an enhancement of hangtime can be offset by trunk diseases such as eutypa, botrysphaeria and esca, which can disrupt fruit development during ripening, and effect yield and fruit quality through reduced bunch uniformity.

Rootstock Rootstocks have different influences

on plant growth characteristics and, therefore, the rate of winegrape maturity and wine quality, for example, rootstocks can influence shrivel in Shiraz (Rogiers et al. 2004b). Vine balance is directly affected by rootstocks which can be used to regulate vine vigour and counteract low or high soil fertility. The effect of rootstocks on late-season ripening is dependent on rootstock. Primarily, rootstocks will influence vine ripening through their influence on canopy growth and vine balance.

The selection of rootstock should be made based on the identification and assessment of any limiting pest, nutrient, salinity or vigour issues at a proposed vineyard site. Any one of these issues will directly affect the vines’ ability to ripen fruit and rootstocks can provide an effective tool to counteract any potential threats to optimal ripening. More specifically, drought-tolerant rootstocks can offset the negative effects of water stress on ripening fruit by maintaining canopies to power the ripening process and protecting fruit from the negative effects of overexposure to sunlight.

Rootstocks can assist ripening by reducing the negative effects of salinity from soil and irrigation water on canopies and fruit. Other rootstocks can have an influence on the development of pH, sugar accumulation and acidity, all of which are synthesised during veraison.

NutritionFor optimal ripening, vines require

a balance of essential macro and trace elements. The nutrient status of vines will dictate vine vigour and balance. Vigour control to achieve balanced vines is critical for optimising winegrape quality. Nutrient imbalances caused by either elemental deficiencies or toxicities will impact directly on the vines’ ability to ripen fruit.

Some effects of nutrient imbalance are direct on grape composition,

Grapevines have a certain capacity to ripen a certain yield to a certain quality. over-cropped vines will sometimes shut down due to the stress of carrying a large crop beyond its capacity to ripen fruit. they are more sensitive to extreme heat and can suffer more negative symptoms such as defoliation and berry shrivel with less ability to recover.


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bunch architecture and berry components. For instance, high potassium uptake will result in high pH. Low molybdenum will result in poor fruitset and uneven berry size in some varieties, especially Merlot. Calcium has been linked to increased skin thickness and benefits red varieties through increased colour and whites by increasing disease resistance to hyphal penetration and reducing berry split.

Avoid calcium deficiencies as calcium is an essential element required for red pigment colour production in red winegrapes. Try to avoid vegetative growth occurring in red varieties after veraison as this will become a major sink for calcium and divert it from berries and potentially reduce colour formation.

Nitrogen has a significant effect on vine vigour. There is a direct link between increased fruit susceptibility to botrytis infection in all varieties and lighter colour formation in red varieties. Nitrogen is essential for healthy leaf function to provide the energy required to ripen fruit. However, high nitrogen leads to bigger canopies and unbalanced vines, which can have a detrimental effect on ripening by shading fruit, predisposing it to heat stress and shrivel and has even been linked to crop loss through primary bunch stem necrosis.

Phosphorus is exported from the vineyard in harvested fruit and is essential for fruit development. Therefore, it needs to be replenished to optimise ripening. Another way that vine nutrition influences ripening is through vineyard uniformity.

Identifying areas of significant difference in bunch weights/bunch structure and levels of bunch exposure depending on vine vigour (e.g., low lying areas, soil variation within blocks) will allow for optimal harvesting of fruit. By identifying these areas, vineyard uniformity can be improved through micro management of vineyard sections of variable vigour. Petiole and/or sap tests will confirm your vines’ nutrient status and allow efficient use of fertiliser to balance any shortfalls. A healthy vine free of nutrient deficiencies and toxicities will be more balanced and likely to ripen fruit to its optimum capacity for quality.

Pests and diseasesLate season is when winegrapes can be particularly

vulnerable to certain pests and diseases. Fungal infections have been shown to reduce the production of flavanoids as the plant diverts phenolic precursors to stilbenes to counter the fungal infection. The later the season, the higher the sucrose levels of the berries and the tastier winegrapes become for birds, foxes, kangaroos, chickens and even some winemakers’ dogs (warning: dogs can die from eating too many winegrapes).

Red winegrape varieties are also easier for natural vectors (or, as we see them, pests) to see, especially birds, which have the ability to spot winegrapes from long distances away whilst in flight.

Downy mildew has a minimal effect on late-ripened fruit except in that it can lead to defoliation of canopies and reduce the ability of vines to effectively ripen fruit to an optimum level. Powdery mildew does not infect berries at veraison and any infection developed prior to veraison can result in a reduced ability to ripen fruit.

Monitoring is important close to harvest, particularly in wet, humid weather. Bird, lightbrown apple moth or other mechanical berry damage can be detected to separate out fruit with botrytis infection or high levels of VA (volatile acidity). Monitoring allows for determining if selective harvesting is required to maximise fruit quality.

TemperatureWinegrape varieties are planted in areas where historic

climatic indicies are proven to ripen fruit to optimal levels for quality wine production. Daily maximum and minimum temperatures have a significant influence on winegrape maturity and, in particular, the final stages prior to harvest. The

optimum daily temperature range for grape development during ripening is 15-30°C constant temperature. At this temperature range, enzyme activity for leaf photosynthesis and red grape colour is maximised.

Extreme temperatures, especially heatwaves, seem to have become more prevalent in Australian winegrowing regions and can cause many negative effects on winegrape maturity and eventual wine quality. Yield loss through dehydration as well a rapid sucrose accumulation, a loss of tartaric and malic acid, and accompanying high pH are the immediate effects of extreme heat on winegrape maturity. Overcoming the negative effects of extreme heat on winegrape maturity is a difficult management challenge.

Achieving a balanced vine is the best place to begin. Pruning individual vines to vigour helps build in the resilience required by vines to withstand extreme heat events. Irrigating before heat events to ensure adequate water is present in the rootzone is critical. Post-heatwave irrigations are generally too late to avoid damage to leaves and bunches from extreme heat. If row orientation is north-south, then using foliage to cover bunches on the western side can reduce the exposure of bunches to direct sunlight and potential for sunburn.

Sunlight intensityOnly 20% of sunlight is needed for colour formation in red

winegrape varieties. All flavour and aroma compounds are degraded by light, so overexposure is more of an issue than under exposure in the production of red colour in winegrapes. The berries and leaves of grapevines contain carotenoids which are a natural sunscreen and develop in response to light exposure. If using a vineyard management tool to increase


light exposure on winegrapes, do so early in cooler conditions. Otherwise, sudden exposure of shaded berries and leaves can result in sunburn due to the lack of carotenoids produced in shaded conditions. Shading of berries alters the composition of anthocyanins but not the total anthocyanin content in Shiraz grapes (Downey et al. 2004). Flavanols are synthesised only when light is greatly reduced or are ‘burnt off’ in overexposed fruit.

RainfallRainfall during early veraison will have

very few negative effects. Berry cell size is determined two weeks after fruitset. Later in veraison, dilution of colour, fl avour and aroma compounds can occur if berries expand from excess soil moisture.

Berry split is also a risk from rainfall during veraison and will predispose berries to fungal pathogens, particularly Botrytis cinerea, Aspergillus and sour and bitter rots. Winery tolerance of berry rots are low and a 5% infection can result in rejection of fruit.

Irrigation is an essential tool during hangtime to maximise yield and fruit quality. Monitoring soil moisture with accurate soil moisture monitoring equipment and visual assessments of vine canopies and fruit will determine the level of irrigation required

to ripen fruit physiologically. A defi cit in soil moisture during late veraison will only jeopardise the yield and fruit quality and can result in vines ‘falling over’ prior to harvest without the ability to adequately ripen fruit for acceptance by a winery. By the same token, dilution of fl avour, colour and aroma and lower fruit quality through excess soil moisture from over irrigating. Irrigation strategies need to be variety, soil and season specifi c. Irrigation strategies such as regulated defi cit irrigation and partial rootzone drying are proven strategies for improved winegrape quality, particularly with Shiraz.

Part 2 of this article will be published in the May/June issue of the Wine & Viticulture Journal and will explore winegrape berry components and their development during veraison, the skills required for predicting harvest dates, and harvest timing.

ReFeRenCes

Allan, W. (2006) Practical aspects to improve fruit ripening in Shiraz from veraison - Barossa Valley. In: ASVO Seminar Proceedings ‘Finishing the Job - Optimal Ripening of Cabernet Sauvignon and Shiraz’, p22-25.

Bindon, K. (2013) Relationships between harvest time and wine composition in Vitis Vinifera L. cv. Cabernet Sauvignon 1. Grape and wine chemistry. Food Chemistry 138 (2-3):1696.

Coombe, B. (1992) Research on development and ripening of the grape berry. Am. J. Enol. Vitic 43(1):101-110.

Huang, X.M. and Huang, H.B. (2001) Early post-veraison growth in grapes: evidence for a two-step mode of berry enlargement. Aust. J. Grape Wine Res 3(7):132-136.

Downey, M.; Harvey, J. and Robinson, P. (2003) Analysis of tannis in seeds and skins of Shiraz grapes throughout berry development. Aust. J. Grape Wine Res. 9(1):15–27.

Hanlin, R. and Downey, M. (2008) Tannin accumulation during grape berry development. Australian Viticulture 12(2):70-71.

Kennedy, J.A.; Hayasaka, Y.; Vidal, S.; Waters, E.J. and Jones, G.P. (2001) Composition of grape skin proanthocyanidins at different stages of berry development. J. Agric. Food Chem. 49(11):5348-55.

Ojeda, H.; Deloire, A.; Carbonneau, A.; Ageorges, A. and Romieu, C. (1999) Berry development of grapevines: Relations between the growth of berries and their DNA content indicate cell multiplication and enlargement. Vitis 38, 145-150.

Ristic, R. and Iland, P.G. (2005). Relationships between seed and berry development of Vitis vinifera L. cv Shiraz: Developmental changes in seed morphology and phenolic composition. Aust. J. Grape Wine Res. 11(1):43-58.

Rogiers, S.; Hatfi eld, J. and Keller, M. (2004) Irrigation, nitrogen, and rootstock effects on volume loss of berries from potted Shiraz vines. Vitis 43(1):1-6.

Winter, E.; Whiting, J. and Rousseau, J. (2004) Winegrape Berry Sensory Assessment in Australia. Winetitles.

Speaking of Grapes and Wine: A communication guide for McLaren Vale grapegrowers and wineries. (2007) Published by McLaren Vale Grape, Wine and Tourism Association and the Co-operative Research Centre for Viticulture. WVJ

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VIneYARD ReDeVeLoPMent V I t I C u L t u R e

With all the talk of oversupply in the Australian wine industry these days, it’s almost

possible to forget that vineyards are still being redeveloped and not simply being maintained, mothballed or removed.

While the rate of vineyard redevelopment has no doubt slowed during the industry’s ‘restructuring’ phase, vignerons are still seeking out opportunities for more profitable varieties or clones. Indeed, the supply and demand imbalance has probably sharpened vignerons’ focus on redeveloping for improved profitability.

One man who is plugged in to much of the vineyard redevelopments being undertaken around Australia is Tom Stephens, from Vinesight, a company that undertakes full and partial vine removals around the country, sometimes to take vines out of production altogether, and other

times to make way for new or improved varieties.

In recent months, Stephens’ skills have been called upon by Bryan Martin, of Ravensworth, in the Canberra District, and Fowles Wine, in Victoria’s Strathbogie Ranges. Both wineries have had purple patches of late: Ravensworth, with its 2012 Riesling being named best wine of the most recent Canberra International Riesling Challenge; and Fowles Wines, receiving the Chairman of Judges Perpetual Trophy for Wine of Outstanding Quality - Personal Selection at the 2013 Sydney International Wine Competition for its 2005 Exception Cabernet Sauvignon, and a bronze in the ‘wineries, distillieries and breweries category’ in the recent Australian Tourism Awards for its cellar door and cafe.

The two also have in common the fact that they both pulled out Sauvignon

Blanc last year to make way for new plantings.

There were various reasons why Bryan Martin decided to redevelop the 0.8ha of Sauvignon Blanc in his vineyard

Sauvignon Blanc gets the chopBy Sonya Logan

Vines being removed in readiness for replanting of the land. Photo: Vinesight


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near Murrumbateman. Although the vines were completely removed this season, this wasn’t his original intention, after initially attempting to graft the vines over.

“The vines were planted in 1998 and had been under contract for about 10 years. Even out of contract, I was still able to sell the grapes for the same price we were getting for them under contract. But, hand harvesting costs have gone up a lot lately,” explained Martin, who as well as managing

his own 1500-case brand, works full-time as winemaker for neighbouring Clonakilla.

“Another reason why we decided the Sauvignon Blanc had to go was because we had a need for other varieties to make wine for ourselves. We’ve never made a Sauvignon Blanc; that block was simply planted to sell. So, even though we could still sell it out of contract, we decided we had demands for other varieties, like Shiraz, Riesling, Marsanne and Sangiovese. Shiraz and Riesling, in particular, can be so hard to buy now in high pressure years unless you know a grower well and are prepared to pay good money for them. And, working full-time at Clonakilla, I didn’t really want to be trying to sell fruit as well.”

About three years ago, Martin started grafting over his unwanted Sauvignon Blanc to Shiraz. About half were grafted over by the time the wet 2010-11 season occurred and, then, he noticed that his grafts weren’t doing so well.

“About six or seven years ago we grafted over Merlot to Shiraz, Riesling and Sangiovese. Those grafts went very well; we had a 99% strike rate and those vines look fantastic now. But, for some reason, the Sauvignon Blanc didn’t work as well – I only had a 40% strike rate.

“I initially thought it was the wet 2010-11 season that was the problem. But, over a period of time I started thinking that perhaps something else was going on. The vines seemed to be going forward and then dying back. Botryosphaeria is known

Riesling vines planted in December in the Ravensworth vineyard where sauvignon blanc once stood. note the section of unplanted area on the left, which will eventually be planted with shiraz, sangiovese and more Riesling.

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to be in the district and although I didn’t get the vines tested, I suspect that was most likely what was affecting the vines.

“We heard Tom Stephens was in the area, so we got him over to pull out two of the three acres of Sauvignon Blanc so we could start from scratch. It costs about five or six times the price to pull vines out compared with grafting over but we didn’t want to waste another year.”

The removed vines burnt to avoid any potential further contamination of the vineyard with Botryosphaeria, and the trellising infrastructure left intact, Martin was then left to work on his clean slate.

“I am now able to plant clones of Shiraz that I want. There are some quite good clones of Shiraz that are suited to the country here, like some of the old heritage clones from Victoria and South Australia. I can now also use rootstocks, which is good from a phylloxera perspective, given the rest of the vineyard is on own roots.”

Martin planted out about a quarter of the 0.8ha left by the removed Sauvignon Blanc to Riesling this season, from which he is expecting to harvest their first crop in 2015. He will plant out another half-acre this year, and the remaining acre next year. For these patches of dirt he also has on order Shiraz and Sangiovese. The remaining acre of Sauvignon Blanc will be eventually removed too.

“In the medium to long term removing the vines will be better for the vineyard. Over a five-year period we will be able to harvest varieties and clones that I want. And the first reasonable crop that the new vines produce will pay back the cost of removal very quickly,” Martin said.

Fowles Wine is also looking forward to the prospect of having a greater number of Shiraz clones at its disposal when

it replants 10ha of Sauvignon Blanc that was removed from the larger of its two vineyards in Victoria’s Strathbogie Ranges this season. Not only was the Sauvignon Blanc surplus to requirements, but it was also in the wrong location, according to vineyard manager Rick Milland.

“The demand for Sauvignon Blanc is starting to drop off across Australia and to a certain extent in New Zealand too. Plus, we took ownership of another property about 20km away about 12 months ago which also had Sauvignon Blanc in it, and is better suited to white varieties than this one. Furthermore, the Sauvignon Blanc we removed, like most of the white varieties in that vineyard, was facing north-northwest, which created lots of work in canopy management to avoid sunburn,” Milland explained.

After a couple of unsuccessful attempts at removing the Sauvignon Blanc via other methods, Fowles Wine eventually called upon the expertise of Vinesight’s Tom Stephens.

“We originally started out with a front end loader, a chain and a bucket, but it was slow and horrible work. We then tried to pull out the vines with an excavator and a claw. That worked well but it was also slow and more expensive.

“Tom came in right at the end of winter and it took him three days to do the job. We got him to dump the vines in the rows of some of the other vines in the vineyard where we chopped them up with a couple of slasher passes. You can hardly see them now,” Milland said.

Fowles currently only grows two clones of Shiraz – PT23 and SA1654 – and beginning this spring, will look to plant other clones in place of the Sauvignon Blanc in pursuit of adding complexity to its wines.

“We’ve been winning some really high awards with our Shiraz lately. For example, our 2008 Ladies Who Shoot Their Lunch Shiraz won the Australian Shiraz Challenge Trophy in 2010. Our Shiraz is in high demand and we’d like to diversify the clones we have to give our consumers more complexity.”

Milland admits that Fowles Wine is doing “a fair bit of redevelopment this year”.

“We’ve got two Chardonnay blocks we want to get rid of and replace with Shiraz. There’s also some Riesling that was next to the Sauvignon Blanc that we’ll pull out in the next three to four years; like the Sauvignon Blanc, the Riesling is getting burnt and creating phenolic problems in the winery. Our new site is better for Riesling as it faces south.

“We’ll gradually convert our main vineyard over to more red and use the second vineyard to get more whites in,” Milland said, adding that any new plantings will be on rootstocks, primarily to guard against phylloxera, but also to manage vigour and dry conditions.

In the medium to long term removing the vines will be better for the vineyard. Over a five-year period we will be able to harvest varieties and clones that I want. And the first reasonable crop that the new vines produce will pay back the cost of removal very quickly.

Bryan Martin, Ravensworth Wines

WVJ


ALteRnAtIVe VARIetIes V I t I C u L t u R e

The Oliver’s Taranga journey with Sagrantino began more than 10 years ago, when bright-eyed and

bushy-tailed Mark Lloyd, from Coriole, and Chester Osborn, from d’Arenberg, spent a bit of time in Italy scoping out some varieties that may have potential in McLaren Vale. They were inspired to visit the home of Sagrantino, in Montefalco, Umbria, by the late great Greg Trott, of Wirra Wirra, after many evenings of pizza and Sagrantino di Montefalco at the iconic Russell’s pizzeria in Willunga. Oh, to have been at those dinners! But I digress.

Although they enjoyed the wines they found in Montefalco immensely, Mark and Chester had both run out of plantable land at the time, so requested we plant some Sagrantino for them to purchase under contract. At the time, more than 60% of our 300-acre vineyard was planted to Shiraz, so Sagrantino was a signifi cant departure from the norm, but an exciting journey to embark on.

The variety had been in Australia for a couple of years. The Chalmers family brought it in from Italy via their relationship with the Matura Group, and had planted it in their Euston vineyard on the New South Wales/Victorian border. There was very little information available on the variety due to its rarity, even in Italy. In Montefalco, it had been made into a sweet passito style wine used in religious ceremonies for centuries, but in 1992 was granted DOCG status as a dry red wine. This resulted in somewhat of a rebirth for the variety, of which only a small number of plantings remained. There is now thought to be close to 300 acres of Sagrantino vineyards in Montefalco, but they still only make up around 6% of the grape production of Umbria.

In 2004, after sourcing the vine cuttings from Chalmers Nurseries, we planted the fi rst Sagrantino vines in our vineyard in McLaren Vale. They are grafted onto Paulsen rootstock and are the MAT 1 clone, as selected by the Matura Group. The soils the vines are planted on are very shallow, comprising low water-holding red brown earth over ironstone and limestone. The soils are quite tough, lacking nutrients, having traditionally being used as cropping land.

sAGRAntIno

By Peter DryViticulture ConsultantThe Australian Wine Research Institute

bACKGRounD

Sagrantino (SAH-grahn-TEE-noh) is a very minor variety in Italy that was rescued from extinction in the 1960s. It is grown in a very small area, around Perugia (Umbria), to produce Montefalco Sagrantino (granted DOCG status in 1992). There were just 360ha in Italy in 2000. Sagrantino has been known since the late 19th century in Montefalco but does not appear to have spread elsewhere in Italy. The fact that it has very few synonyms (Sagrantino di Montefalco, Sagrantino Rosso) is perhaps indicative of its restricted range in Europe. It is said to have been introduced from Greece in the Middle Ages—but there is no DNA data yet to support this proposition. Historically it was used to produce a sweet wine from partially-dried grapes. Today Sangrantino is most likely to be used for varietal red wine—but may be blended with Sangiovese in Montefalco and surrounding communes. It was imported to Australia by Chalmers Nursery in 1998, and is now grown in many regions including Murray Darling, Swan Hill, Heathcote, King Valley, McLaren Vale, Eden Valley and the Granite Belt. There are now more than 14 wine producers. There is also a small area in California.

VItICuLtuRe

Budburst is mid-season and ripening is mid to late (about one week later than Shiraz at Swan Hill). Bunches are small to medium, loose to well-fi lled (with some clonal variation for the latter). Berries are medium, dark-blue or black with thick skin. Vigour is low and growth habit is semi-erect. Yield is said to be low and variable in Italy but moderate yields can be achieved with irrigation in Australia. It is adapted to a hot, dry climate and has stood up very well to heatwaves in inland regions in Australia. It also has good tolerance of spring frosts. Bud fertility is good and spur pruning is most common. Harvest can be fully mechanised but low shaker speed is required because canes are brittle. It has moderate tolerance of powdery mildew and Botrytis, but not downy mildew.

WIne

Very high juice polyphenolics results in wines with good structure, high in colour and tannins. Wines are fruity with a good body and acidity and delicately perfumed. Descriptors include forest fruits, cherries, mulberries, violets and vanilla. Ageing potential is very good. Long maceration, e.g. four to fi ve weeks, with gentle cap management may be used in Italy.

This is an extract from the manual developed for the Research to Practice on ‘Alternative varieties: emerging options for a changing environment’ (Tassie, L., Dry, P.R. and Essling, M. 2010). For further information on this and other emerging varieties, contact Marcel Essling ([email protected]; tel. 08 8313 6600) at The Australian Wine Research Institute to arrange the presentation of this Research to Practice program in your region.

Savouring SagrantinoBy Corrina WrightOliver’s Taranga, McLaren Vale, South Australia

▶


V I t I C u L t u R e ALteRnAtIVe VARIetIes

The vineyard was shallow ripped prior to planting with a 2m spacing between vines and 3.3m between rows. Each vine has two 2L drippers, and the vines were sprawled for a year, before establishing a single-wire, spur-pruned canopy. We largely based the vine structure on what has worked for Shiraz in our vineyard for years. Limited information was available on the establishment of Sagrantino at the time, so we ended up going with our gut feel.

We very quickly discovered that Sagrantino in our vineyard was very slow growing, had super short internodes and was generally extremely sluggish. Perhaps planting the vines on one of our toughest soils wasn’t the best idea after all! The vines also turned out to be carrying a fairly high viral load. After two years trying to establish the vines with very slow results, Don (our viticulturist) travelled to Montefalco to meet with growers in the homeland of Sagrantino. He learned that they were generally pruning to only one bud, and the vines were planted at much higher densities than ours. When discussion turned to the sluggish growth, Don was informed by a number of growers to “just be patient!” While they acknowledged the impact of the virus, most informed him that the ‘clean’ stocks were not popular with the local winemakers at all, and warned against going down this path.

Eventually the vines established and produced their tiny first crop in 2007, giving solid results for both Coriole and d’Arenberg’s resultant wines. Unfortunately, the 16-day heatwave of 2008 resulted in the fruit cooking on the vine, and it was not picked. So, it wasn’t until 2009 that we had the chance to experiment with the variety again and, by this stage, we decided that Oliver’s Taranga would also have a crack at making a Sagrantino under our ‘small batch’ label.

A typical bunch of Sagrantino is quite small, with very small, round, thick-skinned berries that are compact within the bunch. They have the look of Cabernet berries, but more red-purple in colour, with a significant bloom on the skin. The growth of the vine is not vigourous, hence the canopy is quite sparse and tends towards yellow-green in colour. In autumn, the leaves are particularly spectacular, turning a vibrant, almost fluorescent red, and becoming the subject of many a painter’s brush or photographer’s lens! It is common to see numerous cars pulled over with people checking out the vineyard or setting up an easel.

Sagrantino tends to ripen relatively late in our region, after Cabernet Sauvignon, but before Petit Verdot. It doesn’t seem to be particularly susceptible to any of the mildews or botrytis, though the tightly packed bunches could cause havoc in very wet regions. The vines are relatively

tolerant to heat (apart from 16-day heatwaves!), and don’t tend to drop leaf. In terms of water requirement, the vines seem to be similar to Cabernet Sauvignon, requiring slightly more than the hardy Shiraz.

The most striking thing about the Sagrantino grape is its extraordinary level of tannin in its skin and its high natural acidity. This is truly challenging to get your head around when you first taste the variety on the vine. It is this high tannin, high acid character that drives the choices when turning the fruit into wine.

Now heading towards our sixth vintage with Sagrantino, we have worked on a number of trials in the winery. Everything from traditional fermentation, to significant extended skin contact, and many things in-between. We are now feeling a little more confident with the management of the tannins, and have come to a happy place by splitting the ferment. One portion of Sagrantino is processed using heading down boards and not much cap movement in an indigenous yeast ferment. We then press off using a basket press at around 1o Baume, popping the wine straight into old, large format oak. The other portion is left on skins for around 40 days before pressing. The tannins in the extended skin contact parcel start to gain in generosity, becoming like a rich 70% cocoa chocolate. Meanwhile, the pressed off early portion has more apparent tannins, but the beautiful violet, floral fragrance is maintained. We don’t add any tannin or acid to the ferment, and just let it do its own thing - it is a pretty hands-off kind of wine! It does need some time in barrel to allow the tannins to develop. In Montefalco, there is a minimum ageing required to meet the DOCG regulations of 30 months, and the wines have been known to age for decades. If you would like to experience some of the ‘real’ thing, I highly recommend wines by Arnaldo Caprai or Paolo Bea.

It has been very interesting introducing customers to this wine in our cellar door and via our distribution networks. There has been significant interest from the trade, especially in restaurants and high-end specialist bottle shops. The tannin structure of Sagrantino screams out for food. Even when we are out on the road tasting with restaurant and wine shop buyers, we make sure to bring some slices of prosciutto or salami, and encourage them to try the wine with and without food. Sagrantino is currently very much a hand sell, but we still believe that the potential is there to produce an exciting wine, and will continue to produce small volumes under our ‘small batch’ range into the future.

sagrantino grapes in the oliver’s taranga vineyard.

WVJ


The production of low alcohol wine is a fairly recent innovation in the Australian wine industry, with

the fi rst low alcohol wines appearing on shelves in 2007 containing alcohol levels of between 8-11.5%v/v.

The increasing focus of the anti-alcohol lobby and the number of public health advocates on both wine and the wine industry is certainly having an effect on the proliferation of low alcohol wines. There has also been a push back from consumers on excessively high alcohol wines that are now being seen as hot and astringent, as well as wine critics favouring lower alcohol wines. Also in the mix is the increasing demand from certain retail customers, particularly in

the UK, and wine consumers who are seeking a less intoxicating and, therefore, healthier beverage.

There is much discussion around what consumers are looking for in lighter, lower alcohol styles of wine. Market research has shown that Moscato, white wines, rosé and lighter reds are becoming increasingly popular, and that lower alcohol wines are also perceived as being lower in calories and, therefore, a healthier alternative to full strength wines.

From a production viewpoint, the AWRI factsheet on reducing alcohol levels in wines (April 2012) lists several ways to bring down alcohol levels. On the list are making changes in viticultural and

winemaking practices, using yeasts that produce less alcohol from a given amount of sugar, as well as using technologies such as reverse osmosis and evaporative perstraction to remove sugar from grape juice or alcohol from fi nished wine.

From a marketing and promotional viewpoint, there have been limitations in the past for low alcohol wines, due to labelling restrictions placed on these products by the International Organisation of Vine and Wine (OIV) and Food Standards Australia New Zealand.

The OIV had defi ned wine as “containing an actual alcohol content that shall not be less than 8.5%v/v, and nevertheless, taking into account climate, soil, vine variety, special qualitative

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L o W A L C o H o L W I n e busIness & MARKetInG

Lightening up in our approach to wineBy Cathy Howard

Cathy Howard spoke to a variety of Australian companies producing low alcohol wines about their making and marketing of the products, as well as predictions for growth of the market segment.


factors or traditions specifi c to certain vineyards, the minimum total alcohol content may be able to be reduced to 7%v/v by legislation particular to the region”.

Similarly, under the Australia New Zealand Food Standards Code, any wine with less than 8% alcohol had to be defi ned as ‘wine product’, and could not be labelled as ‘wine’.

Both defi nitions have recently been amended. In October 2011, following a successful submission by the Winemakers’ Federation of Australia (WFA) to Food Standards Australia New Zealand, the minimum alcohol content allowable in locally-produced wine is 4.5%v/v.

At a recent meeting in Turkey in 2012, the OIV acknowledged the growing trend for lower alcohol and lighter style wines, and the technology being used to produce these wines, and made a number of resolutions:• The reduction of the alcohol content of

a particular wine to improve its balance is now allowed with a maximum reduction of 20%. Products obtained through this practice must still conform to the defi nition of wine.

• If the alcohol content of the wine is reduced by more than 20%, it will fall under a de-alcoholisation process, which means to remove part or almost all of the ethanol content in wine in order to develop low or reduced alcohol content products.The way is now open to actively

promote and market low alcohol wines domestically and internationally.

I approached three producers of low alcohol wines in Australia to gain some insights into the styles that they are making, their target markets and how they see the growth of this market segment.

LoWe WInes, MuDGee

David Lowe makes two low alcohol wines under the Tinja preservative-free label, a white and a red. The Tinja white wine has an alcohol level of 10%v/v, and the Tinja red is at 12%v/v. The Tinja white was initially released with an alcohol level of 11%v/v, and the Tinja Red was released at 13%v/v. Lowe is working on further reducing the alcohol levels on both wines down by 1%v/v each year,

aiming to get the white down to 7%v/v, and the red down to 10%v/v in another three years time.

The Tinja wines are labelled as ‘preservative-free’ on the front labels, with the variety and the lower alcohol level mentioned on the back labels. These wines are also organic, so production volumes have been somewhat constrained, particularly for the white due to the quantities of organic grapes available. The Tinja white is a Verdelho, with a production level currently at 250 cases per year. The Tinja red, a Merlot, is currently at 1000 cases. Lowe is planning on doubling the production of both wines this year. The Verdelho as a variety, Lowe believes, that is well-suited to producing low alcohol wines, and to meet the increased demand he has planted more in his Mudgee vineyard.

The feedback from Lowe Wines’ Sydney market and its cellar door has been very positive, and the winery will continue to develop these products. Interestingly, at a recent media tasting in Sydney, there was a fairly even split between those who buy Tinja wines because they are preservative-free, and those who buy them because they are low alcohol.

Lowe’s promotional approach to marketing these wines is focussed on food and wine, for example, being able to enjoy wine socially over lunch in a low alcohol form.

For Lowe, making lower alcohol, preservative-free, organic wines is technically easier as the pH is lower, leading to greater microbial stability along his production process. He focusses on the vineyard and on his pruning levels. Lowe believes there is no compromise in wine fl avour with his lower alcohol wines, and adds that he does see a problem with the replacement of alcohol by adding or retaining sweetness in the fi nished wine. Both of his wines are dry, which he sees as important when making wines to match with food, aiding digestion and for health in general.

busIness & MARKetInG L o W A L C o H o L W I n e

Lowe Wines makes two low alcohol wines under its tinja preservative-free label. the tinja white wine, made from Verdelho, has an alcohol level of 10%v/v while the tinja red, is made from Merlot, is 12%v/v. the winery is working on further reducing the alcohol levels on both wines down by 1%v/v each year with the aim of getting the white down to 7%v/v, and the red down to 10%v/v in three years time.


WVJ


As president of the NSW Wine Industry Association and vice president of WFA, Lowe is concerned about the well-funded anti-alcohol lobby shifting its focus more towards wine. The wine industry needs to respond, and he believes that taking a proactive approach by producing wines with less alcohol is one of the best ways to counteract the effect of the anti-alcohol lobby.

There has been much debate and discussion about the use of genetically modified yeasts, particularly in the overall discussion around reducing alcohol levels in wines in Australia. Lowe strongly believes that the industry must have the debate now about genetically modified yeast. He says the AWRI’s extensive work in this area has already produced yeast capable of making 8.5%v/v wine.

PIRRAMIMMA, MCLARen VALe

Geoff Johnston launched the Pirra low alcohol wine range in 2007, with two whites at 9.5%v/v and a red at 11.5%v/v. Releasing the low alcohol wines followed the work that Johnston undertook with David Wollan when they were developing the first prototype machine using reverse osmosis membranes to de-alcoholise wine.

Pirramimma does not make the Pirra range anymore. It still makes a low alcohol white wine, which is in its Gilded Lily range. It is 11.5%v/v, but Pirramimma does not promote it as a low alcohol wine. The biggest challenge has been the marketing of the products. Johnston said that customers perceived the low alcohol wines as cheaper and, therefore, of lesser quality. To be a success in the marketplace, a substantial amount of money needs to be invested in the promotion and marketing of these products, and Johnston sees this working far better for larger companies who have the dollars to spend on advertising and promotion. He also believes that the segment will take off sooner overseas, particularly in the UK, than here in Australia.

LInDeMAns, AustRALIA

Lindemans launched the Early Harvest range in 2007 with two wines. There are now 11 wines in the range, including two sparklings, a rosé, six whites and two reds ranging in alcohol from 7.5-9.0%v/v. The company also has a low alcohol Marlborough Sauvignon Blanc, Matua First Frost (9.2%v/v), and under the Yellowglen label, there are another two low alcohol sparkling wines, Yellow 65 and Pink 65 (at 6.5%v/v).

According to Michelle Terry, managing director of Lindemans, “The trend towards lighter, more refreshing styles of wines and a ‘positive lifestyle’ focus across many

food and beverage categories continues to grow. What customers are seeking is an alternative that allows them to enjoy a glass of wine when they are out and about, while reducing the effect of alcohol.”

Lindemans considers itself a leader in this category. In the domestic market it has a 42% share of the low alcohol category.

The Early Harvest range is promoted as 25% lighter in alcohol and 25% lighter in calories, and is aimed at the consumer market segments that are looking to make positive lifestyle choices towards improving their health and general wellbeing. Terry says that Lindemans has focussed on sampling the wine directly with consumers. The main platform for promoting the wines, and to associate the brand image and packaging with living a relaxed, healthy lifestyle, is the Lindemans Open Garden space at the Melbourne International Flower and Garden Show, and at Floriade, in Canberra. This combination of tastings, plants and food has proven to be quite successful.

Lindemans is planning to launch the wines internationally, into Canada, the US, Europe, Asia and New Zealand.

ConCLusIons

The low alcohol wine segment is a growing market, both domestically and internationally. Tescos, Marks & Spencers

and Sainsbury’s have all introduced low alcohol products, and Sainsbury’s, for example, is aiming to be number one for lighter alcohol products by 2020, which would see it doubling its sales in this category.

The large reductions in alcohol, down to 5-8%v/v, while retaining flavour, structure and balance in that wine is a challenge. It will require a multi-disciplined approach using a mix of technology in the winery, changes to vineyard and winemaking practices, and yeast selection.

The promotion and marketing of these low alcohol products is perhaps the biggest challenge, particularly for smaller producers. A substantial investment is obviously required to build consumer knowledge and acceptance of these styles.

For other market segments, there seems to be a growing momentum towards making wines with more elegance and finesse, which will also result in subtle reductions in alcohol levels of 1-2%v/v. Many of these alcohol reductions will be achieved in the vineyard and in the winery.

Cathy Howard is winemaker and, together with husband Neil, proprietor of Whicher Ridge Wines, near Busselton, in Western Australia, and has been making wine for the past 18 years. She also consults part time to some wineries in the Geographe region.

the Lindemans early Harvest range now includes 11 wines, including two sparklings, a rosé, six whites and two reds ranging in alcohol from 7.5-9.0%v/v. the company uses its open Garden space (pictured) at the Melbourne International Flower and Garden show, and at Floriade, in Canberra, as the main platform for promoting the wines, and to associate the brand image and packaging with living a relaxed, healthy lifestyle.


Presently, low alcohol wines are defined as de-alcoholised (< 0.5%v/v), low alcohol

(0.5-1.2%v/v), reduced alcohol (1.2-6.5%v/v) and lower alcohol wine (5.5-10.5%v/v). However, this definition varies between countries (Pickering 2000). Previously in Australia, only wine with 8%v/v or more could be classified as a ‘wine’. However, a recent approval of an application from the Winemakers’ Federation of Australia (WFA) to Food Standards Australia New Zealand (FSANZ 2011) means that a wine product with as little as 4.5%v/v can now be included in the definition of ‘wine’. This approval allows for a greater consistency with food standards in the European Union and gives Australian wine consumers more variety to choose from. What is not understood is if the wine consumer has the same definition as the one set by the wine industry. Furthermore, while lower alcohol wine is now possible for the consumer, can the wine industry be sure they are ready to adopt these products?

In this paper we report on a potential market size for low alcohol wine in an Australian population through perceptions and attitudes toward low alcohol wine, as well as self-reported reasons for desiring to purchase these products. Our findings suggest that only if low alcohol wine were to taste similar to standard wines, consumers would be prepared to purchase these products in situations where they need to drive after drinking, for health reasons and to consume more without the effects of alcohol. In particular, women and those who enjoy wine with food are the most likely to purchase low alcohol wine. Currently, this presents an enormous challenge to the wine

industry. However, the current findings support the justification for a substantial focus on the engineering and/or viticulture challenges associated with making lower alcohol wine to taste similar.

tRenDs In ALCoHoL ConsuMPtIon In AustRALIA

Alcohol consumption in Australia rose markedly in the early 1970s, followed by a gradual decline in the late 1980s. On closer examination, this pattern was due largely to the changing consumption of beer, as wine consumption has steadily risen since this time, with spirits and ready-to-drinks (RTDs) remaining the same (Australian Bureau of Statisitcs 2011). Undoubtedly, the quality of wine produced in Australia has been a primary driver for the shift from beer to wine consumption. As a result, the sale of Australian wine has grown rapidly not only in Australia, but on the international market. Along with quality wines other unique innovations, including cask wine and screw-top lids, have made Australian wines one of the most sought-after globally. Overall, Australian wine producers have proved they do not shy away from a challenge, with both consumers and Australian winemakers receiving the benefits of these innovative ideas.

There are a number of substantial challenges ahead for the wine industry. There is an increasing push from government and other agencies to implement policy aimed at reducing alcohol consumption, whether through tax reforms or advertisements. Major retailers have given this further momentum by declaring their intention to increase the extent of their lower alcohol wine category,

thus following in the footsteps of their UK counterparts, that is, Tesco, Sainsbury’s and the like (Wine Intelligence 2012). One way to reduce alcohol consumption in the Australian population, without selling fewer products, is to offer lower alcohol wines.

tHe CuRRent stuDY

The current study was conducted online, recruiting participants through a market research company. The final sample consisted of 851 wine consumers geographically balanced across Australia, with an equal number of males and females. The survey consisted of questions regarding purchasing price per bottle/cask and amount of wine consumed per month, as well as the percentage of alcohol contained in the wine. A general question regarding interest in low alcohol wine was followed up by the question, ‘What if low alcohol wine tasted the same as standard wine?’ An open ended question, ‘I am interested in low alcohol wine because...’ allowed participants to give reasons for why they would purchase low alcohol wine in their own words. Interestingly, 21% of the sample did not know what alcohol percentage was contained in the wine they drank (see Figure 1), which is insightful. As such, the corresponding figure for a similar study done in the UK market was even higher at 40% (Wine Intelligence 2012).

AttItuDes to LoW ALCoHoL WIne

Previous studies have reported only a modest interest in low alcohol wine. For example, a study predicting a market size for low and very low alcohol cask wine under different tax regimes found only 6-8% of the sample


Consumer attitudes to low alcohol wine: an Australian sampleBy Anthony Saliba1, 2*, Linda Ovington1, Carmen C. Moran1, 2 and Johan Bruwer1 1School of Psychology, Charles Sturt University, Locked Bag 678, Wagga Wagga, NSW, 2678 Australia 2National Wine and Grape Industry Centre, Charles Sturt University, Locked Bag 588, Wagga Wagga, NSW, 2678 Australia *Email: [email protected]

Charles sturt university and national Wine and Grape Industry Centre researchers have recently investigated the potential domestic market size for low alcohol wine, and hereby present their findings.



are ready to purchase these products (Mueller, Lockshin and Louviere 2011). In the current study, 16% of the sample reported an interest in low alcohol wine without setting any precedent as to what percentage of alcohol this would contain or packaging type. Although 16% is still rather modest, opinions changed markedly when asked, ‘What if low-alcohol wine tasted the same as standard wine?’ Over 40% agreed they would consider low alcohol wine as an option to purchase and 40% were neutral to the idea (see Figure 2). This suggests that negative attitudes to low-alcohol wine are linked to the undesirable alterations in taste, but if these alterations could be made while preserving the taste, consumers are much more willing to purchase them, providing that the price of the wines are not increased due to this intervention process.

WHAt Do PeoPLe ConsIDeR LoW ALCoHoL WIne to be?

Researchers assessing a potential market for low alcohol wine appear to presuppose that the consumer understands what ‘low alcohol’ means. The present study was designed to investigate consumer perceptions of what alcohol content a low alcohol wine would contain and whether this matches the level set by the wine industry. Seventy

percent of our sample perceived a low alcohol wine to contain around 3-8% alcohol, while 17.2% perceived low alcohol wine to contain approximately 1-2% alcohol. The good news for consumers is that a wine with as little as 4.5%v/v can now be purchased and consumed as a ‘wine’ (Food Standards Australia New Zealand 2011). The test now is whether wine producers are able to engineer a low alcohol product that tastes similar to the wines consumers are used to. We do not underestimate this challenge, and feel that such a product is a fair way off. However, the importance of the finding is that it argues that the engineering, viticulture and sensory research should be undertaken to develop very low alcohol wines. Commercially, the large Australian wine producers have seemingly already embraced the challenge through brands such as 5.5% Banrock Station Bright Idea (Accolade), 7.5-9% Lindemans Early Harvest (Treasury), and 9.5-11% Jacob’s Creek Cool Harvest (Pernod Ricard).

WHo WouLD buY LoW ALCoHoL WIne AnD WHY?

Multiple regression analysis was used to predict those more interested in low alcohol wine; predictors used in the analysis included age, gender and lifestyle variables. Previous exploratory studies on potential consumers of low alcohol wine have found

women are the more likely purchasers, with the current study supporting these findings. However, the effect size was found to be quite small (eta square = .039), which may indicate that either the difference has always been minimal or male attitudes to low alcohol wine is changing. Of the lifestyle variables, only those who enjoy wine with food were found to be significant.

The present study explored interest in low alcohol wine further by presenting the question, ‘I am interested in low alcohol wine products because…’ This allowed individuals to report in their own words why they would purchase low alcohol wine and has the advantage of reducing any bias in the result. The main reason offered was the desire to be able to stay within the blood alcohol limit to drive after drinking alcohol. Many reported concerns over the negative health effects of alcohol and felt that enjoying a few wines while reducing health risks was a potential reason to purchase low alcohol wine. Another common reason to purchase low alcohol wine, which may come as good news to low alcohol wine producers, is being able to drink more wine without the effect that higher alcohol wines produce. Many individuals reported that one or two wines ‘go straight to their head’, implying they cannot have anymore than this (see Figures 3 and 4).

ouR ADVICe to WIne busIness

Based on attitudes and self-

Figure 1. Percentage of alcohol in wine currently purchased (n = 851).



Figure 2. Relative interest in low alcohol wine compared with interest if taste were the same as standard wine.

Figure 3. Reasons for purchasing low alcohol wine.


reported interest, lower alcohol wine seems to have a potentially substantial market size. Further studies on predicting behaviour, however, need to be conducted in order to determine the exact size of the market, but our work strongly suggests that the potential market size is large enough for wine businesses to start offering lower alcohol wines, and certainly for further research to be conducted to deliver very low alcohol wines.

Just what this research would encompass is debatable, but certainly there are viticultural practices that can be followed that facilitate lower alcohol wines, and there are winemaking practices (based on microbiology and sensory studies) that can deliver the same. Further, there are marketing opportunities to explain the low alcohol wines that will influence acceptance. For instance,

we know that a wine described as ‘low alcohol’ currently will be perceived as inferior, whereas a wine that is described as ‘leaner’ or ‘early-picked’ will not elicit the same negativity.

ConCLusIon

While previous studies have reported negative attitudes to low alcohol wine products, it is clear from the results of the current study that these attitudes stem predominately from the alteration in taste, rather than from the reduction in alcohol per se. Undoubtedly many consumers will still prefer a higher alcohol wine, but the option of a similar tasting, lower alcohol wine to consume if driving or for health benefits and physical reasons is a market waiting to be tapped. Further studies are required to investigate actual uptake

of low alcohol wine, though this study has demonstrated that the potential market is large enough to begin the important challenge of delivering low alcohol wine.

ReFeRenCes

Australian Bureau of Statisitcs (2011) Apparent consumption of alcohol, extended time series.

Food Standards Australia New Zealand (2011) Application A1026 minimum alcohol content for wine explanatory statement.

Mueller, S.; Lockshin, L. and Louviere, J. (2011) Alcohol in moderation: Market potential for low alcohol wine before and after excise tax. Paper presented at the 6th AWBR International Conference.

Pickering, G. J. (2000) Low and reduced alcohol wine: a review. Journal of Wine Research 11(2):129-144.

Wine Intelligence (2012) Lower alcohol wines: Consumer insights for the UK market. Research report, Wine Intelligence: London, UK, May. 1-59.


affect alcohol allow alternative benefits better body calories can change concerned consume consumption control

could couple drink drive drunk easier easy

effects enjoy especially evening extra feel few friends function glass

good have head health healthier interested less

level light like limit little low lower may meal might more much my need new nice one option out prefer products quickly

reduce risk safer social sometimes still strong taste than think tipsy

try two want wine without wouldFigure 4. tag cloud for interest in low alcohol wine.

WVJ


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2013 – the year of the lower alcohol wine? By Richard HalsteadChief Operating Offi cer, Wine Intelligence. Email: [email protected]

Wine Intelligence elaborates on its view that while lower alcohol wines have potential for ongoing market growth, the sector needs to remain vigilant about quality to prevent the wines falling out of favour with consumers.

W ill 2013 be the year of the lower alcohol wine? Lots of people in the global wine trade still

believe in the category, and are betting big. The past 12 months has seen several major product launches in the UK at the 5.5% alcohol level, the point at which a major tax break kicks in. These include heavyweights such as JP Chenet (Grand Chais de France) and Blossom Vie (Diageo), joining brands which, in some cases, have only been on the market since late 2011, such as Banrock Station Light (Accolade) and Black Tower.

With all this activity and shelf space devoted to new brands, it’s possible to think the category was rocketing towards a high orbit in the UK wine market. The truth is a bit more sobering. Yes, the category remains in growth, with the magic one million case mark passed in 2012, according to recent sales data from AC Nielsen. However, volume growth rate has slowed dramatically, from more than 30% year-on-year 12 months ago, to just 11% in the past year. At the time of writing, some infl uential trade fi gures are asking whether the lower alcohol category in the UK has peaked.

This is perhaps overly pessimistic, or at the very least premature. Wine Intelligence’s view is that lower alcohol has a lot of potential, both within the UK and in the broader mature consumption markets, but is in danger of falling out of favour with consumers, whose experience thus far in lower alcohol has been a disappointing one.

Why should this matter? UK is often seen by global producers as a good test bed for innovation, and is also closely watched by major retailers in Europe for emerging trends. The lower alcohol idea is starting to catch on in other markets, notably Sweden, where Systembolaget, the state-controlled retail liquor monopoly, has pledged to introduce 5.5% alcohol products in 2013.

However, before the lower alcohol category gets ‘legs’, it needs to sort out some fundamentals, such as how to

convince consumers that a product that has less of a desirable substance (alcohol) and often tastes worse than a higher alcohol product, is worth buying? It also needs to sort out a crazy tax structure, which forces producers to reduce alcohol levels to 5.5%v/v or below and, in effect, penalises winemakers who are producing very interesting, drinkable products at 6-8%v/v.

Perhaps the most obvious fl aw in the category is the tax and regulatory environment imposed on the wine industry by the UK government (and, by extension, the EU). Under current UK law, still wines at 5.5%v/v or below attract less than half the excise duty of mainstream wines (81p instead of £1.90 per bottle). Technically they are actually not ‘wines’ at this point, according to the government designation, but ‘wine-based products’ which, therefore, cannot actually be called wine. For now at least, there is no steady progression of tax rate beyond this: if your wine were to be 6%v/v, it would be taxed the same as one at 14.5%v/v. According to some regulatory experts, this could be resolved with a mezzanine tax rate between 5.5-8.5%v/v, which would be permitted under EU law. However, there doesn’t seem to be much appetite for a new tax band, as the industry’s lobbyists fear it will open the door to even higher rates of taxation on 8.5%+v/v wines. Given that the UK has one of the highest rates of alcohol duty in Europe, and its government is still battling a big budget defi cit, fears of a further tax grab are justifi ed.

Then there is the battle over how wines can have their alcohol levels reduced. I am neither winemaker nor scientist, so I won’t dwell on this beyond making the one point: for now at least, methods of alcohol reduction in wine are constrained by EU law. One widely touted technology, which separates alcohol from wine using a set of spinning cones while largely retaining the wine’s original fl avour, is permitted in the

US (from where the technology originates)and a number of other countries, but so far not in Europe. Instead, European winemakers, and those hoping to sell wine in the UK market at 5.5%v/v, must use more crude methods of alcohol extraction, which in the opinion of most wine experts, reduces the product to a shadow of its former self. “I can see no reason to buy any of these depressing liquids,” wrote infl uential critic Victoria Moore in the Daily Telegraph last year.

So, the UK has become a bit of a laboratory for 5.5%v/v wines, made in a sub-optimal way – and so far, the results are a bit mixed. According to Wine Intelligence data, 23% of regular wine drinkers in the UK have bought these wines, and say they will continue to buy, though it is not clear from the data so far collected how often this purchase will be. Another 15% are open to the idea but have yet to take the plunge. That’s almost four in 10 wine drinkers in the UK, or 11 million consumers – a respectable enough target to aim at.

Look closer at these low alcohol buyers and the picture gets more interesting. They tend to be younger, and have a noticeable female bias – precisely the drinkers the wine category is looking to attract to stay relevant in mainstream retailers, whose own future health depends on attracting these consumers.

The same set of data, which Wine Intelligence gathered in November 2012 in our regular Vinitrac UK survey, also offers some insights into why growth in the category might be slowing. Some 48% of UK wine drinkers – nearly half the category – say they won’t be buying 5.5%v/v wines. Four-fi fths of these ‘refuseniks’ won’t buy on principle – to them, it’s not a product that has relevance or appeal. The other fi fth, around 10% of the total wine drinking population, have bought wines at 5.5%v/v but won’t be doing so again.


The fi rst issue the category needs to address is its fundamental consumer proposition. Too many of the early great number of consumers who have helped create a one million case market for lower-alcohol wines in the UK didn’t really know quite what they were buying. It was only when they got home, and discovered that the wine tasted a little – well, different – that the penny dropped. Supermarkets took the issue so seriously that they have now requested that suppliers fl ag up the 5.5% alcohol content in a more prominent way.

Indeed, there is a feeling in some quarters that the poor quality of many 5.5%v/v products has put people off the category for good. Nearly a quarter of respondents who actually bought low alcohol wine thought it tasted worse, or much worse, than expected. Only 10% thought it tasted better.

Does this mean lower-alcohol is doomed? Not necessarily. In fact, there are reasons for optimism, at least a little further up the scale. The 7-8.5%v/v space is proving interesting, and it’s here that we fi nd the likes of Jacob’s Creek Cool Harvest,

Lindeman’s Early Harvest and perhaps most signifi cantly of all, McWilliams Balance: an 8.5%v/v wine endorsed by WeightWatchers. Consumers don’t just care about alcohol for its own sake – increasingly, they’re aware of the calories it contains.

This is also the level at which we fi nd many Moscatos, quite naturally and without any help from spinning cones or ascorbic acid. Do consumers warm to these wines because they’re relatively sweet and unchallenging, or because they’re less alcoholic? It’s a bit of both. But Wine Intelligence detects resistance from consumers to wines that seem to charge a premium for their lower-alcohol credentials. The selling points of an 8.5%v/v wine are not so compelling that people feel the need to spend more on them.

The European Union allows member states the freedom to set a duty threshold at 8.5% for still wines, just as already happens in the UK with sparkling wines. If that were to happen, we would arguably see a less distorted market – one that was less skewed by the 5.5%v/v wines that currently divide opinion, and even, in the opinion of some

suppliers, give the category a bad name. As things stand, wines at 8%v/v or thereabouts are often more favourably reviewed, but their prices can still seem out of kilter with the quality they offer. A tax break at 8.5% could address that issue, and help suppliers and retailers alike deliver responsible drinking options, and value for money, at the same time.

Sweden’s Systembolaget monopoly is introducing 5.5%v/v wines in June 2013, and has been making space for more wines at less than 12.5%v/v for some time. It says it wants to go even lower for health reasons, though there will be a signifi cant price difference, because of a tax differential, at 5.5%v/v.

Wine Intelligence would like to think that, in future, nobody will buy 5.5%v/v wine by mistake. That’s an issue that has been addressed. Consumers should, in theory, be taking home such products because they actually want them. But whether that’s because they really want lower alcohol by volume, or simply the cheapest tickets in the wine aisle, is a question the industry will continue to ask.


The number of lower alcohol wines, or lighter wines in Australia’s export mix, is increasing. Analysis of the data captured by Wine Australia when wines are registered

for export approval reveals an interesting trend: there has been substantial growth in the volume of wine exported with ‘lower’ alcohol content. The increased popularity in key markets of Sauvignon Blanc and Moscato contributes to this trend, but there is an underlying shift towards lower alcohol across each of the broad wine styles - sparkling, rosé, carbonated, dry red and dry white wines, which all have recorded reduced alcohol strength. There are several drivers of this trend, including Australian winemakers responding to consumer interest for lower alcohol products.

Manager of compliance at Wine Australia, Steve Guy, suggests “the increase in the volume of lighter wines refl ects the trend towards earlier harvest, particularly of Chardonnay, as winemakers pursue more elegant food-friendly styles”.

In Figure 1, the volume of Australian wine exports is split by alcohol strength in 2008 and 2012. The chart reveals that the three defi ned segments with an alcohol strength under 12% has increased, albeit off lower bases than the ‘above 12%’ segment. Conversely, exports of wine ‘above 12%’ strength have declined since 2008.

Figure 2, (see page 64) illustrates exports of lighter wines, which for the purpose of this article will be defi ned by wines with less than 12% alcohol strength. It is evident that the increase in this segment is primarily, but not solely, driven by whites. Furthermore, much of the ‘other wine products’ segment is actually Moscato, which had previously been assigned to this category in the Wine Export

Approval system1. This combined segment has increased by 53 million litres (204%) to 79 million litres since 2008.

Although off a lower base, lighter dry reds have also grown strongly – up 300% to 9.2 million litres. Lighter rosé wine also recorded growth of a similar magnitude – up 340% to 9.1 million litres. Lighter sparkling wine exports declined, however; the rate of decline was lower than for sparkling wine above 12% alcohol strength.

As illustrated in Figure 3, the UK, US and New Zealand account for an 80% share of lighter wine exports (compared with two-thirds of total wine exports). These three countries also contributed

Market analysis for lower alcohol Australian wineBy Mark Rowley, Industry Analyst, Wine Australia

Figure 1. Australian wine exports by alcohol content.

WVJ


a larger share to the net growth (83%) of lighter wine exports than their share of total light wine exports. None of the top 20 destinations for lighter wine exports recorded a decline in these exports. Conversely, total exports declined to most of these destinations.

In some markets, lighter wine styles accounted for a high share of Australia’s exports. Lighter wines accounted for a 42% share of the 27 million litres of wine shipped to New Zealand. Other countries to have a high share of lighter wine in Australia’s export mix include South Korea (64% share), United Arab Emirates (27%), France (26%), UK (17%) and Singapore (16%).

Figure 4 illustrates the volume of light dry red wine exports and the rapid rates of growth that has been recorded since 2008. Exports have increased to New Zealand by more than 1600% to 3.6 million litres, to the UK by 980% to 1.9 million litres, while exports to the US increased by 1600% to 1.6 million litres. China is the sole destination among the top 10 markets for dry red wine to decline in volume, despite this market representing Australia’s fastest growing wine market.

Figure 5 illustrates the increase in light dry white wine exports by destination. As with reds, US, UK and New Zealand were the largest markets and recorded much of the growth from 2008 to

2012. Only three of the top 20 destinations for lighter white wines recorded declining shipments from 2008 to 2012.

Charts for the other styles are not presented in this article, however, just over half of lighter ‘other wine products’ (which is mainly Moscato) were destined for the US. South Korea (15% Share), UK (11%) and New Zealand (6%) were the other major destinations for ‘other wine products’. Meanwhile, the UK accounted for more than 80% of lighter rosé exports.

Although the major force driving down average alcohol strength is the increasing popularity of Moscato, there is a defi nite trend towards exporting lighter styles of wine. Both lighter red and white styles are becoming more popular and contributing to the growth. The lighter wine trend is not uniform across all markets, so exporters should consider carefully where lower alcohol products are likely to be best received. The data used in this article is not readily available, so if you’re a Wine Australia levy payer and are seeking deeper analysis, contact [email protected]

ReFeRenCes

1Previously, wine below 8%v/v was considered to be a ‘wine product’. The legislation was changed, due to, in part, the increase in popularity of Moscato, with the limit revised to 4.5%v/v. As such, these lower alcohol wines are now considered to be wine.


Figure 2. Wine exports less than 12% alcohol strength by wine style.

Figure 3. top 10 destinations for wine exports less than 12% alcohol strength.

Figure 5. Dry white exports less than 12% alcohol strength by destination.

Figure 4. Dry red exports less than 12% alcohol strength by destination.

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IntRoDuCtIon

For those new to wine, fi guring out the requirements of a wine label can often be a daunting and confusing prospect. There is a large volume of information listed on Australian

wine labels, some of which is mandatory (either due to the Food Standards Code of Australia) or required under the Wine Australia Corporation Regulations (1981) mainly involving origins of the wine, regions (or GI – geographical indication) and varieties. For those new to wine looking to understand wine labels further, a number of questions often arise. In this article I will discuss what a typical wine label should include, and descriptions of each of the areas that are mandatory and those that are optional.

Wine is defi ned in the Wine Australia compliance guide as meaning ‘the product of complete or partial fermentation of fresh grapes, or a mixture of that product and products derived solely from grapes’.

A wine label is an important part of the packaging, but as well as appearance, there are regulatory considerations. When developing wine labels, there are two factors that need to be considered. First, the information that is required to be disclosed on the label and, secondly, whether the selected name, logo or other information may infringe any laws or other trader’s intellectual property.

LAbeL InteGRItY PRoGRAM

The Label Integrity Program (LIP) is administered by Wine Australia in accordance with AWBC Act. The objective of the program is to help ensure the truth of statements made on wine labels about the vintage, variety or the GI of wine made in Australia. The LIP applies to ‘wine goods’ which includes wine, grapes or grape extract used or intended to be used in the production of wine. Under the program, wine manufacturers are required to keep certain records of transactions between winegrape growers, manufacturers of wine

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Th e sticking points of labellingBy Rachel Gore, Wine and Viticulture Consultant, Wine Network ConsultingOakleigh, Victoria. Email: [email protected]

Rachel Gore guides newcomers to the wine industry through the maze of mandatory and optional labelling regulations.

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goods, and persons who supply or receive wine goods to which a label claim is made. A label claim means a written claim made about a vintage of wine goods, variety or geographical indication made on wine labels, records, commercial documents, or in the form of advertising. The types of records that must be recorded under the LIP include:• the date the wine goods are received• the type, vintage, quantity, variety and GI of the wine goods received• the manufacture of certain single or blended wines• the sales, transfer and disposal of certain wine goods• the identity of the supplier and the customer.

Failure to keep applicable records or providing false, misleading or incomplete records could result in the wine manufacturer receiving hefty penalties.

The AWBC Act also gives powers to an inspector appointed under the Act to inspect wine premises for the purpose of fi nding out whether label laws are being complied with, but the inspector can only inspect wine premises with the consent of the occupier.

WIne AustRALIA ReGuLAtIons

Where wine is made from a blend of grapes, labels must refl ect accurate vintage, variety and GI. Only those grape varieties recognised by one of the following organisations are permitted to be claimed on Australian wine labels: • OIV (International Organisation of Vine and Wine)• UPOV (International Union for the Protection of New Varieties of

Plants)• IPGRI (International Plant Generic Resources Institute).

If the description and presentation of the wine refers to one or more varieties of grape, then the description and presentation must recognise all of the varieties in descending order of their proportions

in the wine. Wine may be described as being of a particular variety if it consists of at least 85 percent of that variety. Each variety named in the description and presentation must be present in greater proportion than any variety that is not named.

It is imperative that GIs are correctly selected and used appropriately on labels. A GI in relation to wine means: ‘A word or expression used in the description and presentation of the wine to indicate the country, region or locality in which the wine originated; or a word or expression used in the description and presentation of the wine to suggest that a particular quality, reputation or characteristic of the wine is attributable to the wine having originated in the country, region or locality by the word or expression’.

In order to use a GI in the description and presentation of wine, at least 85% of the grapes used to make the wine must have been sourced from the region identifi ed in the GI.

In 2008, the Australian Government signed the International Australia-European Community Agreement on Trade in Wine. Under the Agreement, Australia has agreed to discontinue using more than 2500 European GIs, in addition to the 12 already listed on the Register of Protected Names, which includes Champagne. The protection afforded to the GIs listed in Annex 11 of the Trade Agreement will extend to translations of the GIs and the use of terms such as ‘kind’, ‘type’, ‘method’, in conjunction with a GI, for example ‘methode champenoise’.

Where wine is made from a blend of grapes that come from different regions, the description and presentation of the wine must recognise all indications in descending order of the relevant grapes in the wine. A maximum of three GIs can be claimed.

Where wine is made from a blend of grapes produced in more than one country, the description and presentation of the wine must include:

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• the name of the blend produced in each country

• the proportion of the total blend that was produced in each of the countries, with the country in which the largest proportion of the blend was produced being the fi rst mentioned.

The 85% rule does not apply to country of origin and any percentage of imported wine in a blend must be stated.

FooD stAnDARDs CoDe

Australian wine production is governed by Standard 4.5.1 of the Australia and New Zealand Food Standards Code. The Code, among other things, sets out mandatory labelling requirements for alcoholic beverages and food containing alcohol.

These requirements include the following:

Declaration of alcoholAny declaration of alcohol relating to

wine, fruit wine (sparkling wines) and wine products and fruit or vegetable products containing more than 4.5% alcohol by volume must be accurate to within 1.5%v/v. Similarly, any declaration of alcohol relating to fortifi ed wine, fortifi ed fruit or vegetable wine containing more than 1.15% alcohol must be accurate to within 0.5%v/v and

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represented as a low alcohol beverage.

Standard drinksA standard drink is the amount of

beverage that contains 10 grams of ethanol, measured at 20°C. The formula for the calculation is: • Container volume (litres) x alcohol/vol

(mL/100mL) x 0.789 (specific gravity of ethanol) = the number of standard drinks.

The government and the wine industry have agreed that the statement of approximate drinks in the package may be represented graphically. While this is not mandatory, it is recommended by Wine Australia as the standard for the wine industry. The minimum height of the logo is 14mm and it must be accompanied by the words ‘standard drinks’.

Country of originA country of origin statement is

mandatory and must be separate from any GI claim and cannot be incorporated with a state or region.

nAMe AnD ADDRess

The name and business street address of the vendor, manufacturer, packer or importer must be placed on the label.

ALLeRGens stAteMent

If a prescribed allergenic substance has been used as an ingredient, food additive or processing aid during the manufacturing of the wine and it is present in the final product, then a declaration is required on the label.

The following legal additives and processing aids for wine and wine products are listed as allergenic substances under the Food Standards Code:• added sulfites (such as SO2/PMS) in

concentrations of 10mg/kg or more (preservative)

• casein and potassium caseinate (fining agent)

• egg white (fining agent) (including Lysozyme)

• milk and evaporated milk (fining agent)• nuts (such as non-grape derived tannin that

may be made from chestnuts).The Food Standards Code was amended

on 28 May 2009 exempting isinglass (fish) for labelling in wine and beer.

ADDItIonAL LAbeLLInG RequIReMents

Lot number Required for the purpose of traceback

in the event of a recall for health or safety reasons.

Bar codes Bar codes are not required by law, but

are increasingly necessary for retailers and wholesalers. The 13-digit EAN (European Article Number) is the most commonly used in Australia and Europe and the only one now accepted in Canada. The US accepts both EAN and the 12-digit UPC (Universal Product Code). The EAN system can read UPC, but the reverse does not apply.

Best before date The best before date must be printed on

a label if the date falls less than two years after the date of packaging.

Carton labelling The Food Standards Code requires that

all mandatory information for a wine label be reproduced on the outer carton if the product is to be offered in the carton to consumers.

When time permits, Wine Australia will review labels prior to printing and provide a free opinion as to whether all requirements are met. However, producers should first attempt to review the label in accordance with the provisions set out on the Wine Australia website www.wineaustralia.com

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MELBOURNE | 18-20 Somerton Park Drive, Campbellfield VIC 3061P: (03) 9303 9933 | F: (03) 9305 2233 | E: [email protected]

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ADELAIDE | 78 Pym Street, Dudley Park SA 5008P: (08) 8344 9899 | F: (08) 8344 5370 | E: [email protected]

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Take a leisurely stroll among the gnarled and ancient vines of the Clare Valley’s Sevenhill Cellars

and you could be forgiven for thinking that little has changed since winemaker Brother John Hanlon took his last steps here four decades ago.

The property’s beautiful St Aloysius’ Church still casts long shadows across the site’s traditional plantings of Crouchen and Grenache. And the Jesuit brethren that are resident here still continue to participate in programs of spiritual awareness and retreat, much as they have done since Sevenhill was first established to produce sacramental wine back in 1851.

But appearances can be deceptive. As the only Jesuit-owned winery in Australia, solitude and quiet contemplation do figure among its core values. Yet it’s by no means a sleepy hollow, allowing best practice in winemaking and viticulture to pass by unnoticed. On the contrary, the Clare Valley’s oldest winery and 103ha vineyard are as innovative as any others you would find on a similar scale.

You want to see evidence of vine improvement programs, rootstock trials and industry preferred clonal selections like Shiraz SAVII 17? No problem. Sevenhill has been involved with vine improvement since the 1970s. How about cover cropping, integrated pest management and the use of biologically-enhanced compost teas? They’re key components of a sustainable viticulture program that Craig Richards has been committed to since he took on vineyard management in 1999.

No-one is surely more proud nor has been more involved in the recent decades of change at Sevenhill Cellars than 83-year-old Brother John May. The former winemaker/manager celebrated his 50th vintage in the valley this year.

A living example of Jesuit humility, May is quick to point out his career path is not what might have been predicted in 1963 when he was first sent to St Aloysius Residence and Winery, as the property was called at the time. The former carpenter and joiner had just spent 14 years at the Society of Jesus training institution of Loyola College in Melbourne and had no interest at all in winemaking or viticulture. Indeed, May was also a teetotaler.

“I was sent to work as an off-sider to the property’s sixth Jesuit winemaker, Brother John Hanlon, who was having heart problems at the time,” he recalls.

“I’d been born and brought up in Sydney. I didn’t know the first thing about farming or winemaking. Before I’d enrolled at college, I’d spent three years in the building industry. I’d later done courses in welding, concrete technology, mechanics, interior decorating and painting, so I guess I was pretty good with my hands, though.

“Coming from an institution with over 100 people in it to a remote place occupied by just five Jesuits was a very challenging time for me in those early days. What kept me going was my trust and belief that the move was God’s will for me.”

May spent seven years working alongside Hanlon – shovelling skins out of wine tanks, learning to prune vines, operating machinery and tending the soil – before being transferred back to Melbourne for two years.

Just weeks away from vintage, Hanlon’s sudden death in early 1972 brought May back into the fold at Sevenhill as its winemaker, viticulturist and general manager. His unanticipated return was seen as something of an interim measure. The Australian Province of the Society of Jesus was then giving consideration to relinquishing its

presence at Sevenhill. Wine production there was meagre and the site’s vast tourist potential – with visitors numbering around 50,000 per year – was totally unforeseen at the time.

Included among the first tasks May took on was the drafting of a sketchy but ambitious business plan in which he argued a case for the Sevenhill property to be retained by its Jesuit providers and then improved over time. To its credit, the Provincial responded favourably. May was given an opportunity to prove the Mission and its business of wine production could be retained and pay its way.

The job would prove to be a mammoth task during the next four decades of devoted management. May remembers beginning his first vintage with reams of handwritten notes he had made previously while assisting his mentor Brother John Hanlon in the winery. These were of limited use, however, and the new incumbent relied heavily upon the generosity and camaraderie of local winemakers to work his way through the rigours of harvest. Jim Barry and Tim Knappstein, in particular, proved invaluable sources of personal and professional advice.

“The spirit of the place really hasn’t changed much over the years,” May adds. “The ambience we have here in the valley is really special. We haven’t got the big companies driving purely commercial agendas. It’s still a close-knit, friendly place, just like it was 40 years ago.”

May says he picked and processed 80 tonnes in 1972. By 1990, the figure had risen to 500 tonnes. Along the way, the Stelvin screwcap became the winery’s closure of choice as early as 1975. Only the skyrocketing cost of threaded bottles from overseas brought about the return of cork seals later in the decade.

Today, thanks to ongoing programs of expansion – and the 2011 acquisition

P R o F I L e

Sevenhill blends tradition with cutting edgeBy Mark Smith

Just days before celebrating his 50th vintage, brother John May, the ‘emeritus winemaker’ of Australia’s only Jesuit-owned winery, sevenhill Cellars, in south Australia’s Clare Valley, caught up with Mark smith, describing how he convinced its owners, the Australian society of Jesus, to retain the business in the early 1970s before guiding it through a course of expansion over the next 40 years.


P R o F I L e

of a 40ha vineyard nearby, mainly for water security purposes – Sevenhill produces almost 50,000 cases of wine each vintage. Directing proceedings in the winery is Barossa-born Liz Heidenreich. May gave up hands-on winemaking in 2002 but wears the official mantle of ‘emeritus winemaker’ in all Sevenhill correspondence and promotional activities.

These days, table and fortified wines produced under the Sevenhill Clare Valley label are the winery’s stock in trade. Sacramental wine, meanwhile, still remains an important part of its operation, accounting for about 25% of annual production. The wine is produced according to Canon Law, and made with minimal winemaking intervention. Sweet Red altar wine is produced from a blend of Grenache and Pedro Ximenez, while Sweet White is made from White Frontignac. Dry White altar wine is made from Pedro Ximenez.

Sacramental wine is sold to all Christian denominations in Australia for use in their religious services. It is also exported to East Timor, Guam, India, Indonesia, Papua New Guinea, Vietnam and Singapore. Profits from the winery’s business are used to fund a variety of missions, at home and abroad. The Australian Jesuit Mission to India and the construction of a school in East Timor figure among the brethren’s major international projects.

“There are no shareholders here, no rampant commercialisation, and no marketing razzamatazz either,” May remarks.

Looking back over a lifetime of many significant personal and company achievements, May believes that various programs of vine improvement and the arrival of drip irrigation have brought about the biggest viticultural improvements in the Clare Valley.

“I can remember the Department of Agriculture – as it was then called – became very interested in vine improvement in the 1970s,” he says. “They were very keen to find out what varieties and clonal selections were best suited to the valley. They then established source blocks for the industry. I became quite closely involved in that pursuit. It was more or less a gentlemen’s agreement that the material to be planted should be made freely available to the community rather than to individual companies.”

Today, May regards his pioneering role in helping to found the Clare Valley Vine Improvement Association in 1975 as one of his most significant contributions to viticulture in the valley.

“There are now sufficient quantities of different rootstocks in the valley to allow

us to re-generate our vineyards using existing resources, were we to have an outbreak of phylloxera,” he observes.

“When I first arrived in the valley, winegrapes were seen as just another commodity. The old growers went for tonnages rather than premium quality, and it took a lot to convince them otherwise. Wineries back then weren’t that fussed about clonal selections either. Pedro Ximinez and Grenache were the big croppers in this part of the world.

“Establishing new vineyards was done by just planting out cuttings taken in the middle of winter. Nowadays, people come and have a look at how the vines are growing during the season. They check to see if they have leaf-roll and so on. Then they tag their selected mother vines and come back later in the year for their cuttings. It’s a much more selective process now.”

May speaks with the voice of experience. Programs of vineyard expansion were prolific under his management, beginning with significant developments in table wine production. Shiraz, Riesling, Gewurztraminer, Cabernet Franc, Malbec and Merlot were among the first plantings to be added in the 1970s.

Today, Sevenhill’s vineyard assets amount to 19 different varieties. These include a diverse mix of vines being grown on rootstocks: 5C Teleki on moderate to high vigour sites; 1103 Paulsen on low vigour sites with shallow soil profiles. And, of course, there are those ancient old vines – loads of them – including 17 rows of Shiraz vines that were planted prior to 1860 and still produce exceptional fruit.

“The coming of drip irrigation in the 1980s was a tremendous breakthrough

for the valley,” May says. “In the years before it was established here, harvest was a matter of boom or bust, depending upon rainfall in the region. We always pruned for drought conditions, though. That’s the way it had been done for generations, with growers doing what their fathers and grandfathers had taught them to do.

“But some years you might harvest 90 tonnes and the next year only 60 tonnes, for example. Nothing was consistent. With drip irrigation, we could set targets of around six tonnes per acre for whites and four tonnes per acre for reds and you could achieve what you set out to do. Consistency in vineyard production then became really valuable in helping to project market planning.

“Trellising has also made a tremendous difference to the way things are done. In the old days, the valley was mostly bush vines. In 1968, we put our Tokay/Muscadelle on trellises and it made the vines a whole lot easier to manage, especially during harvest when it became much more efficient to pick them at height.

“In general, we find VSP works well in low-moderate vigour sites. Anything more than that and you need to change. We use ballerina systems on heavier soils and then work to open up the canopy to get the sunlight in.

“We’re really spoiled here in the Clare Valley. It’s warm and dry; a really beautiful place, free from big companies, making world class Riesling and Shiraz. Botrytis is rarely a problem and we experience downy about one year in five. To paraphrase the words of St Ignatius, it’s just about the perfect place in which ‘to seek and find God in all things and people.’”

brother John May with sevenhill Cellars’ vineyard manager Craig Richards.

WVJ


Clare, Watervale, and Polish Hill River. For lovers of uniquely Australian bone dry Rieslings,

these three sub-regions of South Australia’s Clare Valley must surely seem like the Promised Land. After all, nowhere else in the country takes the variety quite so seriously as this part of the Mt Lofty Ranges Geographical Indication. Here, vines planted on its picturesque, gently undulating slopes are responsible for growing close to 15 percent of the total Riesling production in this country. Indeed, almost half a century ago, Clare Valley Riesling and Hunter Valley Semillon worked in tandem to help put Australia’s varietal white wines on the world wine map.

Of course, it wasn’t always so. When the first vineyards in the valley were established for harvest wine back in the 1840s, Riesling is likely to have been only a very minor selection at best, in spite of the region’s significant populations of German and Austro-Hungarian settlers.

Among the latter, the Jesuits who set up vineyards at Sevenhill for the production of sacramental wine in 1851 are known to have preferred Crouchen instead, frequently and incorrectly referred to as Clare Riesling almost until the beginning of this century. Besides, the region’s warm summers, lack of refrigeration and rudimentary winemaking practices during the mid-19th century favoured the production of robust red wines that were foot-crushed and then fermented in barrel.

Often oxidised and acetic, these would have provided a challenge to the health and welfare of wine consumers of the day. A Royal Commission set up in the early 1870s to investigate the alcoholic strength of Australian wines in general reported many were able to exceed 26% without the help of fortification.

The planting boom of the 1890s – when vineyard acreages in the Clare Valley increased by as much as 650% in

five years – confirmed Shiraz, Cabernet Sauvignon and Malbec as the grapes of choice among the region’s vignerons. Dry-grown as bush vines, these were largely restricted to the deep, fertile, alluvial soils of the valley floor and the occasional contour-planted hillside slope.

By the early 1940s, the mix had changed to high-yielding varieties, better suited to fortified winemaking: Pedro Ximinez, Mataro, Doradillo, Palomino, Muscadelle, Gordo and Frontignac. While Shiraz had retained its dominance from the 1890s and had been joined by Grenache, Cabernet Sauvignon and Malbec had almost disappeared into oblivion by the war years. Another decade would pass before significant new plantings would once again begin to re-shape the valley.

Today, red winegrapes continue to dominate this stretch of the Mt Lofty Ranges, 130km north of Adelaide. According to 2012 vintage data released

by Wine Australia, almost two-thirds of the valley’s 4542ha vineyard area is planted to flagship red varieties that include Shiraz (1443ha), Cabernet Sauvignon (932ha), and Merlot (242ha).

With 1090ha in the ground, Riesling is certainly the flagship white, as well as being ranked second on the list of the region’s top five wine varieties. However, Chardonnay (198ha) and Semillon (126ha) no longer appear to be in the ascendancy. Crop production from the latter variety has fallen by more than 50% since 2008, while last year’s Chardonnay crop was 78% of that harvested five years ago.

Interestingly, the Clare Valley’s 4542ha of vines represent 2% of the national vineyard, a somewhat smaller proportion than the 3% it registered in 2007. By way of comparison with much newer wine regions, the valley is barely three times the planted area of Tasmania, for example.

Size is not everything. Few observers could claim that the Clare Valley does

Valley of promise delivers vine goodsBy Mark Smith

south Australia’s Clare Valley is synonymous with Australian Riesling today, but it was robust red wines that were favoured by the region’s wine producers during the first few decades that followed the original vine plantings in the 1840s, despite the significant population of German and Austro-Hungarian settlers. Indeed, nearly two-thirds of the valley’s vines are planted to shiraz, Cabernet sauvignon and Merlot today. Mark smith caught up with some of the region’s vignerons just before vintage to learn about its strengths and challenges.


the Polish Hill River Valley, one of the Clare Valley’s major sub-regions, as seen from Paulett Wines.


not deliver the goods where it matters most, at the premium end of the market. The region’s exports, for example, are currently worth around $A8.44 per litre, almost double the average value of $A4.43 per litre announced in Wine Australia’s December 2012 Wine Export Approvals Report.

Twelve Clare Valley wines figure among the 123 listed in the latest edition of Langton’s Classification of Australian Wine. Meanwhile, leading wine critic James Halliday attributes his exalted ‘five red stars’ rating to no fewer than 16 Clare Valley wineries in the 2013 edition of his authoritative Australian Wine Companion. On that basis, one would assume the valley is worthy of inclusion among Halliday’s top five Australian wine regions, alongside the likes of the Barossa Valley (31 wineries rated ‘five red stars’), the Yarra Valley (22), Margaret River (18), and the Hunter Valley (17).

Exactly why this should be so is something of a complex matter viticulturally. Sevenhill’s vineyard and winery operations manager Craig Richards believes the region’s elevation (generally 400-500m) and its unique geography play keys role in determining grape and wine quality.

“This is a great place for growing premium fruit,” he observes. “We’re not a hot climate wine region and we’re not a true cool climate region either. We’re a warm climate region, and while our weather data might suggest far warmer

growing conditions than is the case, the elevation here works in our favour. The climate is moderately continental, with generally cool to cold nights and warm to hot days in summer. Rain here also comes mostly during winter and spring. Combine that with our relatively low humidity and low rainfall during summer and we have few issues surrounding fungal diseases.”

Jim Barry general manager Peter Barry sees additional benefits arising from the valley’s moderate continentality.

“St Vincent Gulf is barely 60km away from Watervale and we get southerlies that blow in from there,” he explains. “Meanwhile, the township of Clare is about 65km from Spencer’s Gulf and that delivers westerly breezes. We’re not actually getting a chilling effect from the sea, however. It’s more a matter of air movements blowing out the heat of the day. The clear skies we get here over summer also allow heat to radiate more efficiently into the atmosphere. Cloudier skies closer to the coast would lock in the heat.

“They’re big advantages. I think one of the most significant changes in viticulture that’s really helped us in more recent times has been the arrival of drip irrigation. That’s allowed us to move our plantings away from the hot valley floor up into the hills where the soils are much shallower – and where vigour is lower – but where you need frequent irrigation. The shift from hand-picking to machine

harvesting has also allowed us to pick at night when it’s cold and when our fruit has the best flavour.”

The valley’s small but highly-skilled vineyard workforce is well rehearsed in managing the patchwork pattern of viticulture that operates there. On many sites, ancient low-yielding, non-clonal selections – some trellised and others maintained as gnarled and sprawling bush vines – sit comfortably alongside more recently planted clonal selections trained to VSP, lazy VSP or ballerina. Similarly, relatively straightforward spur pruning might be used in conjunction with ‘finger and thumb’ and traditional rod and spur pruning.

‘East-west is best’ is a common cry among vignerons old and new when it comes to vineyard row orientation.

“That makes a lot of sense in terms of helping to protect varieties like Riesling from sunburn, but it’s not always possible in this valley,” says local grower and Reilly’s Wines viticulturist Robert Smyth. “Sometimes the vineyard aspect and hillside orientation just won’t allow that. Besides, you generally find that having most of the bad ground up at the top of your rows and the good ground down at the bottom causes problems at vintage. The fruit just won’t ripen up evenly.”

Near neighbour Andrew Mitchell admits there’s no simple answer to planting issues in the valley.

“One corner of your vineyard site can be very different from another,” he says.


Clare Valley grower and Reilly’s Wines viticulturist Robert smyth, with some shiraz vines in Reilly’s st Clare Vineyard at Watervale. smyth says that although east-west rows make sense for protecting varieties like Riesling from sunburn, it’s not always possible in the valley.

Peter barry, general manager of Jim barry, says the Clare Valley benefits from moderate continentality, despite the fact that it is some 60 kilometres from the ocean.

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“The geology of the Clare Valley is so complex, with its ancient formations very tightly folded over time, often resulting in some rocks standing on their ends. Within a very short distance, you can quickly move from areas dominated by shale or slate to others based on quartzite, limestone, and sandstone. And then you move back into shale or slate again.”

While access to good quality water for irrigation is rapidly becoming a major issue for the wine industry nationwide, growers in the Clare Valley have encountered a problem this past growing season that is not just out of the ordinary but truly exceptional – the combination of low rainfall and skyrocketing rates for irrigation water being drawn from the Clare Valley Water Supply Scheme.

“The scheme was only completed in 2005,” notes Smyth. “Since then, SA Water charges have risen from $970/megalitre to $3450/megalitre this year. Two years ago the price was $2480/megalitre. At the same time, growers in the Barossa Valley were getting water from a similar but non-SA Water Scheme for $600-$700/megalitre. Further south, the newly installed Langhorne Creek scheme delivered water for around $225/megalitre.

“For the moment, we’ve been given dispensation to purchase water directly from the market at an off-peak rate until the end of March 2013. We also have to pay a transport fee to SA Water. But that may be just a small reprieve. In the past, the Water Minister said he wouldn’t offer a subsidy because it would set a precedent for others. Who knows what will happen beyond March?”

The issue will need to be resolved quickly. Despite the soils in most areas of the valley being free-draining terra rossa or sandy loams over limestone, their water-holding capacity is barely enough to sustain growth without supplementary irrigation. In seasons like 2012-13, that’s tough on small growers like Ron Ely, whose 1.8ha Rhythm Stick vineyard at Penwortham is dry-grown. Long-term operators in the valley are already comparing vintage 2013 with 2006, among the driest of the past two decades.

A significant oversupply of winegrapes in the Clare Valley has also severely reduced prices for growers in recent vintages, pushing the cost of irrigation water beyond affordability at current rates.

Figures available from Wine Australia for the 2012 vintage indicate that whereas 80% of the region’s Shiraz production

sold for prices in excess of $1000/tonne, almost half its volume sold for between $1000-1050/tonne, and barely 3% of the variety’s production sold beyond $2000/tonne.

By way of comparison, 35% of Shiraz grown in Victoria’s Pyrenees region topped $2000/tonne in 2012. And while 16% of Coonawarra’s Cabernet Sauvignon crop returned growers there premium prices in excess of $2000/tonne, only a meagre 1% of the variety’s 2012 tonnage in the Clare Valley was able to achieve the same result.

Imagine then the dismay of some Riesling growers in Watervale struggling to achieve more than $400/tonne for their precious Riesling harvests in the lead up to vintage 2013.

Back in 2011, an independent survey conducted by Regional Development Australia indicated 500 hectares of vines in the Clare Valley needed to be removed to place it on a more sustainable footing.

“That’s not a good news story, but we have to try to get people to be realistic,” says John Bastian, president of the Clare Regional Winegrape Growers’ Association.

Those with a sound understanding of the history of the region will know only too well that nothing remains the same forever in this beautiful valley.


WVJ

In the years before Shiraz and Riesling became the red and white table wine varieties of choice for growers in the

Clare Valley, the region provided a home to significant plantings of Cabernet Sauvignon. Often named Carbinet or Carbenet in the 19th century, the variety seems to have been given prominence largely as a consequence of its suitability to the region’s warm, dry growing and ripening seasons, and its status as the great red winegrape of Bordeaux.

Its journey to Spring Vale and Watervale during the 1840s appears to have taken something of a circuitous route. The valley’s mother vines are likely to have been descendants of Busby’s famous 1832 collection, which was dispersed at first into the Sydney Botanic Gardens and then later into the Adelaide Botanic Gardens.

By the time a survey of vineyards was conducted in the Clare Valley in 1897, plantings of Cabernet Sauvignon figured

prominently among the premium quality table wine grapes that made up the industry’s 580ha of vines. On properties such as A.P. Birks’ Wendouree Cellars, new plantings of the variety were being accompanied by another Bordeaux grape, Malbec. This vineyard partnership would eventually form the basis of a truly distinctive Clare Valley red wine blend of Cabernet Malbec, which gained prominence half a century later when the industry adopted varietal labelling.

While Shiraz has largely remained the pre-eminent red variety of the region since the 1840s, Cabernet Sauvignon has experienced mixed fortunes. Programs of grafting and vine removal have both added and depleted its stocks during different phases of the industry’s development.

Grape prices have also see-sawed. During the 1920s, for example, when the Clare Valley’s focus was largely fortified wine production, a tonne of Cabernet

Sauvignon grapes would often fetch around £11. By way of contrast, prices paid by the Stanley Wine Company during the 1920 vintage included £11 per tonne for Frontignac and Currants, and £10/5/- per tonne for Riesling.

“Cabernet Sauvignon is now coming back into favour with consumers,” says Jim Barry Wines general manager Peter Barry. “I think Australians have become much more sophisticated in their drinking habits. More consumers now appreciate the varietal characters of premium quality Cabernet Sauvignon. During my father’s time here, from 1947 to 1980, a fair bit of the variety went into the ground in new plantings. Now that those vines are beyond 30 and 40 years old, we’re able to benefit from that today.”

Mature plantings throughout the valley are subjected to a variety of patterns of viticulture. At Wendouree Cellars, where much of the winery and vineyard

Cabernet Sauvignon… Classic ClareBy Mark Smith



remains as it was more than a century ago, old, extremely low-yielding Cabernet Sauvignon of unknown origin is being dry-grown on untrellised bush vines. Here the soils are red-brown chocolaty loams over limestone or shale. These provide vines with excellent drainage and yield powerfully expressive fruit characters.

Wine labelled as Wendouree Cabernet Sauvignon is derived from two parcels harvested from central and western areas of the historic vineyard. Owners Lita and Tony Brady and consultant winemaker Stephen George believe the cooler central block with its smaller berries contributes spicy characters and very firm, almost astringent tannins to the wine. Meanwhile, the western parcel delivers floral-accented fruit with a softer, more rounded structure. A separate Cabernet Malbec wine is crafted using four separate plantings of Malbec established between 1898 and 1960.

On other sites up and down the valley, long established selections of Cabernet Sauvignon have been re-worked and trained to wire trellises. With these vines having developed their own unique structures over time, achieving uniformity in the vineyard without major expense can be a significant challenge for owners. Wide row spacings of around three metres are commonplace, often underscoring the past use of horses and ageing Massey Ferguson tractors.

“Trellis heights have got higher and

higher over the years, making work a bit easier on the back,” notes Leasingham viticulturist and winegrower Robert Smyth.

“Originally, many vines here were established really low to the ground, even those set up on trellises. A lot of the old growers used to explain their reasoning by referring to a traditional saying: ‘the closer to the ground, the sweeter the wine.’”

Pruning Cabernet Sauvignon in the valley also varies from block to block and company to company. Three different systems are most commonly followed – machine pruning, followed by hand clean up; cane pruning (‘rod and spur’); and spur pruning. While each system has its own share of steadfast supporters, the findings of a three-year Clare Valley pruning study back in the noughties must have surely provided grounds for some very animated discussions at the time.

Conducted by AWRI researcher Helen Holt and her University of Adelaide colleague Patrick Iland, the study was initiated by winemakers from Constellation Wines. The group wanted to find out how the three different pruning systems could affect the final quality and sensory characters of the company’s wines. Grapes and wines were analysed over three vintages: 2003, 2004 and 2005. These revealed that during each vintage studied, grapes from machine-pruned vines were smaller by weight than the grapes from either cane or spur pruning.

The study also highlighted some significant differences regarding aspects of wine quality. Wines made from machine-pruned vines had higher concentrations of tannin than those from the other pruning systems. For further details, see Australian Viticulture, September/October 2008, pp55-57.

Paulett Wines, in the Polish Hill River sub-region of the Clare Valley, is just one of many companies that have changed pruning regimes over time, though not as a direct consequence of the findings of the Constellation Wines study.

“We’ve changed quite a few things over the years simply because they work better for us,” explains vineyard manager Matthew Paulett. “We used to do rod and spur pruning but now use spur pruning. That allows us to manage our canopy better and achieve some good air ventilation through the vines. We now machine harvest all our fruit, except for our Antonina Riesling. I mean, hand-picking fruit during the heat of the day is just not good for your workers or for your wine quality.

Talk further about the reasons for change and it’s not long before Paulett begins to mention stewardship of the land and the need to be ‘custodians for our kids.’

“The soils on this 25ha site are really lean and hungry, so one of the things we’ve done in recent times is to establish a permanent sward of natural grass between the rows,” he continues.

the Wendouree Cellars vineyard contains old, unirrigated, low-yielding Cabernet sauvignon on untrellised bush vines.

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“Early on, we used rye grass and fescues but we were losing too much water in the process. Over time, we’ve just let the natural grasses take over and they actually work pretty well.”

Responsible stewardship is something that clearly resonates throughout the valley. Vineyard sites owned by Jeffrey Grosset are all organically managed and hand-tended. The company’s Gaia vineyard – planted to Cabernet Sauvignon and Cabernet Franc – is located 570m above sea level, the highest of any in the valley, and provides proof of Grosset’s willingness to push boundaries.

At Penwortham in the heart of the Clare Valley, Jane and Andrew Mitchell have followed the path of sustainable viticulture onto the high ground of biodynamic management. Their company’s Cabernet Sauvignon vines were planted in the early 1970s. After using supplementary irrigation to get them properly established, the Mitchells now dry-grow their vines.

“If you’re dry-grown, you really have to look after your soils,” Andrew muses. “We had a brief period of herbicide use early on in the vineyard’s life but we gave that up. We began biodynamic management about 10 years ago. We don’t see a need for its certification, though. When you’re working with 80ha of total vineyard and you’re making good wines, you’ve got nothing to prove. Besides, we don’t see ourselves moving into biodynamics, it’s more a matter of

moving back into what used to be done in the past.

“We’ve put a lot of effort into improving our soils. We cover crop in autumn and cultivate in spring; we mulch and we compost throughout the year. The only recent difference is we add biodynamic preps. We like that; all that’s important. The really big differences we see are in our fruit and wine quality. Our fermentations in the winery are all wild ferments. Those are much easier to complete nowadays. Not only is that less industrial, you get wines that are more interesting. They have really exotic notes to them.

“When my father first set up this property, he was working organically too, though he probably wouldn’t have thought that himself. If you go and have a look at what a lot of the long-time growers are doing in this valley – the ones that have been here for years and years – you’ll find most of them are doing things organically. I mean, they were working in vineyards long before the advent of systemic sprays and so on. They’re just doing what they’ve always done, and that’s pretty much what their fathers and grandfathers did last century… good sustainable farming.”

Paulett’s vineyard manager Matthew Paulett.

Eutypa lata. Two little bits of Latin; one giant headache for grapegrowers everywhere. That’s

the commonly held view in the Clare Valley of the insidious fungus causing the grapevine trunk disease Eutypa dieback in vineyards between Stanley Flat in the north of the region and Auburn in the south.

‘Dead arm disease,’ as it is more colloquially known, is not only widespread in Australia, the incidence of it occurring in our premium wine-producing regions appears to be increasing. The Clare Valley, Adelaide Hills, Coonawarra, Langhorne Creek, McLaren Vale, the cooler parts of Victoria’s industry and even Tasmania can all be listed among affected regions.

The pathogen’s slow growth rate invariably ensures that research projects into its behaviour have extremely long timeframes and may tell only part of the story of vine susceptibility and inoculation. According to recent studies carried out in Australia, Eutypa shows up in

some older vineyards with infection rates as high as 100%. The costs associated with it are huge, with countless millions of dollars a year spent on production and disease control measures. Then there are the consequences that result from significantly reduced longevity of grapevines.

Research conducted by Wicks and Davies as far back as 1999 estimated yield losses of at least 860kg/ha and 740kg/ha for Shiraz and Cabernet Sauvignon plantings, respectively, in South Australian vineyards. In the Clare and Eden valleys, yield reductions of 1-2t/ha were observed on some sites. Out-dated calculations elsewhere have suggested the cost to Australia’s Shiraz vineyards alone is likely to be in excess of $20m per year.

The impacts of the disease upon the industry are, to some extent, exacerbated by its insidious nature. It begins when the Eutypa lata fungus enters open wounds via the air-borne and rain-splashed passage of invasive spores. From there, the disease

spreads very slowly through the wood of infected plants, making detection by vineyard staff extremely difficult during its earliest stages.

The appearance of characteristic foliar symptoms such as stunted shoots and cup-shaped, yellowing leaves with necrotic margins may take between three and eight years. External cankers and the staining of woody tissue eventually become other visible signs of the disease’s presence. When cut and removed, infected cordons often reveal wedge-shaped staining when viewed in cross-section. With time, the necrosis caused will have dire consequences for cropping levels and fruit quality by choking off cordon growth and inhibiting normal bunch formation and berry size. If left unchecked, the disease will eventually destroy infected vines.

“It’s not just old vines that suffer,” observes Daniel Wilson, nowadays owner of the 12ha Wilson Vineyard, the Polish Hill River operation founded by his parents, John and Pat Wilson.

“John and Pat planted the first part


Trunk disease a bag of trouble for producers

WVJ



of the vineyard between 1974 and 1976, but we have vines affected by Eutypa that were planted here less than 20 years ago. In rare instances, we have some of it in our Shiraz, and even rarer instances in our Riesling. We’re managing okay with those.

“Our Cabernet Sauvignon plantings really copped it in one part of our vineyard, and eventually we pulled the vines out. We’ve heard of it happening in other vineyards planted around the same time as ours. It may have even been the same clone that was affected.

“It wasn’t a hard decision to make. I mean, there’s only a certain amount you can put up with when you have so much time and money invested in vineyard management and you’re faced with vine yields that are really falling away.

“We thought we could cope with it at first, so we removed the infected wood and brought up new watershoots to form replacements. That seemed to work well for a couple of years, but because the infections worked their way downwards into the root systems, the disease symptoms came back again after a while. After that, most of the affected plants died really quickly. I mean, one minute it seemed like things were going okay and the next, ‘Kaboom!’ no more vine.”

Among larger companies like Kilikanoon Wines – named Winery of the Year in the 2013 edition of James Halliday's Wine Companion – the management of Eutypa is often carried out quite strategically.

“Eutypa’s a big problem in the valley and we have to work really hard to keep on top of things,” explains vineyard manager Troy van Dulken.

“It’s not so much the identification of affected vines, it’s more a matter of deciding what to do about it and then following things through. The blocks that we generally target for major re-working are often 15-20 years old, not what you’d call genuinely old vines. They’re ones that have reached the stage where their yields have fallen to what would be about 50% of normal.

“Our plan is to thoroughly rework these vines so that we can get another 15-20 years of premium production out of them before they start to suffer serious decline and loss of yield. The process usually takes about four years until you get the vines back to where you really want them.

“In the first year, we lop the arms off in order try to encourage the vines to push up shoots again from the base. We don’t go in too hard. We find if we cut off old Shiraz trunks just above

the ground, the vines will often fall over and die. We usually cut those trunks right back in the second year, once there’s a bit of new growth and a decent shoot under way.

“In the third year, we’ve normally got vines back onto the wire. By the fourth, we’ve got them back into reasonable production. Reworked vines can become a bit crazy and vigorous at first but we soon sort that out.

“Vines that are 50 or more years old are managed on a vine-by-vine basis. We don’t cut them off at the base either. Because they’re often in varying states of decline, they are managed and pruned according to the needs of each plant. Admittedly, it’s not that easy to micro-manage a 20ha block of old bush vines. However, we believe it is very important for Kilikanoon to preserve old vines into the future.

“Where a vine is 100-150 years old or more, economics are generally thrown out of the window in order to preserve long into the future something that’s a little bit special in terms of the valley’s heritage.”

Craig Richards, at Sevenhill Cellars, a little further north of Kilikanoon’s home base, understands his colleague’s concern for safeguarding heritage. Richards is custodian of a

shiraz vines in the Kilikanoon vineyard exhibiting characteristic symptoms of eutypa dieback. Foliar symptoms include stunted shoots and cup-shaped, yellowing leaves with necrotic margins. external cankers and the staining of woody tissue can eventually become other visible signs of the disease’s presence.



150-year legacy of Jesuit husbandry in the valley.

“We’re adopting a block-by-block approach here,” he says. “Those old pre-phylloxera Shiraz vines are pretty important to us. While we mostly use contractors to prune our blocks, really old vines will be pruned in-house. We expect that over the next four to five years, we’ll be able to resurrect many of them by a process of layering. In 2011, we acquired a neighbouring property that had 90-year-old vines on it, and the previous owners had already re-worked them. They used layering and it worked very well for them.

“I must admit, Eutypa is becoming a major concern in the valley, especially in our Shiraz after the wet years of 2010 and 2011. That period seems to have really kicked things along a bit. It looks like the disease now has a much more significant seed bank here than it did in the past. It is possible to get on top of the problem because the disease progresses so slowly, but the remedial work is pretty drastic. You really have to cut out the disease-affected parts entirely if you’re going to be genuinely successful.”

Vines in the sevenhill vineyard being re-worked as a consequence of eutypa dieback infection. the trunk in the centre of the image has been established by means of layering the mature vine on the right. note also the establishment of a new shoot from the base of the mature vine.

Daniel Wilson, owner and winemaker of Wilson Polish Hill Vineyard, says some of their Cabernet vines eventually had to be pulled out due to eutypa, despite efforts to avoid doing so, such as removing infected wood.



Leasingham-based grower and viticulturist Robert Smyth agrees with Richards’ assessments of Eutypa problems in the valley. Resident there since 1974, he’s been around long enough to witness all of the most significant changes in viticulture that have taken place over the period.

“While I think that Eutypa has been here for a long time, there’s no doubt it’s got a lot worse in recent decades,” he adds. “I think one of the main causes is pruning too early. Another factor has been the increasing use of mechanisation, especially with the use of barrel pruners. The disease spreads because fungal spores enter through open wounds either caused by pruning or by being damaged by equipment. One of the things I do here is to manage a block of bush vines that were planted way back in 1919. I’m really insistent on making sure my workers avoid leaving spurs poking out on the sides where tractor passes may damage them.

“In the old days, if it rained during pruning, you’d basically give up for the day. Now we have tractors with cabs and all sorts of creature comforts, and we can work through wet periods if we need to, especially if we’re

under pressure to get the job done on time and budget. There’s obviously a greater risk of infection in those circumstances. With a modern barrel pruner, you can also cover many more rows in a day than you can working by hand, so again the potential risks are increased if you work in conditions likely to assist the spread of spores.

“It’s very interesting to see that it’s not only old vines that are falling victim to Eutypa. Even young vines are getting it. I’ve pulled out 15 vines just in the last year. Again, I really think pruning is a key factor. As much as you can pay attention to vineyard hygiene by cleaning up your pruning wounds with fungicide, I think the timing of pruning itself has an effect. As much as possible, I’m now pruning, on average, around three weeks later than I used to, particularly when I’m working with old Cabernet Sauvignon. By the time I’m pruning them, the sap is starting to move again ahead of budburst.”

Like many of his industry peers, valley veteran Peter Barry has learned to manage Eutypa. His family company, Jim Barry Wines, has a carefully targeted program that equips vines with additional replacement

spurs should they ever succumb to the disease and require remedial treatment.

“Eutypa is a huge issue for the industry, one that needs a good deal more research,” he says. “There’s been some good work done so far, but a lot more is necessary. We now know there are more than 80 hosts of the fungal disease, so it’s not going to be easy to prevent its spread through the industry. We do have to find better ways of managing it. Research is not something that small companies can or should invest in, either. The problem is really much bigger than that.”

PostsCRIPt

As Wine & Viticulture Journal went to press, it was announced that the South Australian Research and Development Institute (SARDI) are leading a forthcoming research project funded by Grape and Wine Research and Development Corporation (GWRDC) to develop practical strategies for managing trunk diseases. This will build on current research on Eutypa dieback and will involve the Clare Region Winegrape Growers’ Association as industry partners.

Kilikanoon vineyard manager troy van Dulken with shiraz that have undergone remedial re-working due to the presence of eutypa dieback.

WVJ


LoW ALCoHoL tAstInG

Twenty-six low alcohol wines were received for this issue’s tasting, which was open to Australian

producers of dry white wines of 10% alcohol/volume or less and dry reds of 12% alcohol/volume or less. However, we ended up sneaking in a couple of off-dry styles, as well as a New Zealand entry.

While it was obvious due to labelling that approximately half the wines were deliberately made to be lower alcohol, the other half fitted the low alcohol criteria due to the grape variety from which they were made, or seasonal conditions that forced an early harvest.

For that reason, it was difficult for our tasting panel, which also included two consumer panellists for comparative comments, to draw any fair conclusions on the quality of low alcohol wines currently being made in Australia based on this snapshot of products, as had been the ultimate goal of the tasting. But their comments proved interesting nonetheless.

Our tasting panel included Jane Paull, of Jane Paull Wine Consulting; David Wollan, of Memstar; Cristian Varela, from the Australian Wine Research Institute; and Sue Bastian, senior lecturer in oenology and sensory studies at The University of Adelaide. They were joined by Daniel Paterson and Leone Scholefield, regular wine consumers on a daily basis.

As is customary, our professional panellists were asked to describe each of the wines according to colour, nose and palate. Our consumers, on the other hand, were asked to rate their liking of each wine on a scale of 1-7, offer comments as to what led them to this rating if possible, whether or not they would buy the wine and for what occasion.

Due to the diversity of styles in the tasting, picking a standout wine proved an impossible task. However, there was some consensus around the Langmeil 2012 Live Wire Medium Sweet Riesling.

David Wollan noted that alcohol in wine tended to mask acid and tannin in particular, so by reducing the alcohol those elements tended to be exposed.

He said he believed Sauvignon Blanc was a good candidate for alcohol reduction, sighting the Matua Valley 2012 First Frost Sauvignon Blanc as a testament to his theory.

Leone Scholefield said Wollan’s observation was interesting given that women were the main consumers of Sauvignon Blanc who were also likely to be most interested in the level of alcohol in wine.

Sue Bastian said overall, the palates of the wines in the tasting were a bit lean, noting that the reds in particular were a “bit green and sappy”.

Thank you to the School of Agriculture, Food and Wine at The University of Adelaide for hosting the tasting.

the panellists for this issue’s low alcohol wine tasting (from left): David Wollan, Memstar; Jane Paull, Jane Paull Consulting; Cristian Varela, Australian Wine Research Institute; sue bastian, the university of Adelaide; and regular wine consumers Leone scholefield and Daniel Paterson.

Low alcohol wine tasting delivers mixed bagto tie in with this issue’s focus on the making and marketing of low and reduced alcohol wine, the Wine & Viticulture Journal issued an invitation to Australian wineries to contribute to a tasting of dry, low alcohol wines, resulting in a mix of entries that were deliberately intended to be low alcohol either through early harvesting or winemaking methods, or were low alcohol by virtue of the variety or seasonal conditions.

PARIsH HILL 2011 FRIzzAnte LAMbRusCo

Adelaide Hills, South Australia11.5% v/v – crown sealRRP$25.00

Tasting panelDeep garnet in colour with fine bubbles. Attractive although not overly complex nose which features ripe stewed notes, mulberry and some green vegetal characters; oak also apparent. A light-bodied, intense and not-too-sweet palate which has tight acid and shows some developed fruit characters. A slightly bitter and phenolic finish. One taster noted that consumers would probably expect this style of wine to be sweeter than it is.

ConsumersLeoneLiking of wine: 5 Comments: Pleasant wine – good fruit on the palate, not too sweet, reasonable depth of flavourWould you purchase this wine? YesMost likely occasion? Picnic/bbq, casual consumption at home, Christmas starter

DanielLiking of the wine: 5Comments: Goood body and aromaWould you purchase this wine: YesMost likely occasion: Casual consumption at home


t A s t I n G n o t e s

PARIsH HILL 2009 FRIzzAnte LAMbRusCo

Adelaide Hills 12.5% v/v – crown sealRRP$25.00/bottle

Tasting panelOpaque, garnet red in colour. Developed leather and cedar notes on the nose as well as plums, dried flowers and a slightly meaty note. Not obviously low alcohol in the mouth, which has grippy tannins but lacks some fruit intensity. A slightly hard, bitter finish. Possibly needs more sugar for the style.

ConsumersLeoneLiking of wine: 3Comments: Lacks some fruit; zingy palate but a little blandWould you purchase this wine: No DanielLiking of wine: 4Comments: bitterWould you purchase this wine: No

MAtuA VALLeY 2012 FIRst FRost sAuVIGnon bLAnC

New Zealand9.0%v/v - screwcapRRP$19.99/bottle

Tasting panelPale straw in colour with some green flashes. Medium to high intensity nose with dominant varietal characters and attractive nettles and grass. A soft, light palate that has a nettle focus and lean, chalky acid; moderate length. A serious low-alcohol wine that’s made well, noted one taster. An austere, acid style that maybe a hard sell, said another.

ConsumersLeoneLiking of wine: 6Comments: Nice, herbaceous nose, a little acidic on the palateWould you purchase this wine: YesMost likely occasion: Picnic/bbq

DanielLiking of wine: 3Comments: Promising aroma, tasted ‘sour’ with an aftertasteWould you purchase this wine: No

MCWILLIAMs 2012 bALAnCe seMILLon sAuVIGnon bLAnC

8.0%v/v - screwcap RRP$15.99

Tasting panelBright yellow straw in colour. Delicate, low intensity nose of cut grass, hay, lemon and thyme. Green Semillon-like characters on the medium-intensity palate which is slightly spritzy and has lively, balanced acid and a hint of sugar.

ConsumersLeoneLiking of wine: 2Comments: No nose, fruit flat, non-lingering on palateWould you purchase this wine: No

DanielLiking of wine: 4Comments: Little aroma, acidic mouthfeelWould you purchase this wine: No

tRentHAM estAte 2012 tWo tHIRDs seMILLon sAuVIGnon bLAnC

Murray Darling, New South Wales8.5%v/v - screwcapRRP$14.00/bottle (cellar door)

Tasting panelPale straw in colour with green/grey tints. A light, pretty, aromatic and floral nose with some confection. A light, elegant and clean palate with floral, grapefruit, sherbet, and green apple characters..

ConsumersLeoneLiking of wine: 5Comments: Nose lacks fruit, acid strong on the palateWould you purchase this wine: No

DanielLiking of wine: 5Comments: Slightly flowery, clean mouthfeelWould you purchase this wine: No

Guide to consumer liking ratings:1=dislike extremely2=dislike very much3=dislike slightly

4=neither like nor dislike5=like slightly6=like very much7=like extremely

LInDeMAns 2011 eARLY HARVest seMILLon sAuVIGnon bLAnC

8.5%v/v - screwcap RRP$14.99/bottle

Tasting panelPale yellow gold in colour with a yellow tint. Developed honeyed notes on the nose as well as lifted floral characters. Initially sweet on the palate which is rich and full bodied. Good fruit weight and a lot of acid but it carries it well, said one taster. Great intensity and flavour, said another.

ConsumersLeoneLiking of wine: 3Comments: Very little nose, fruit flatWould you purchase this wine: No

DanielLiking of wine: 4Comments: Uninteresting, sharpWould you purchase this wine: No



LInDeMAns 2011 eARLY HARVest CRIsP CHARDonnAY

8.5%v/v - screwcapRRP$14.99/bottle

Tasting panelMid yellow/gold in colour with yellow tints. Quite a developed nose with some botrytis notes; hints of melon, and tropical/pineapple notes but fruit is largely subdued. Some ripe, tropical fruit in the mouth, with pineapple and apricot dominating; low to medium bodied; good intensity. An attractive, fuller-bodied white.

ConsumersLeoneLiking of wine: 6Comments: Reasonably balanced, some good butteryness on the nose and creamy on the palateWould you purchase this wine: YesMost likely occasion: Casual consumption at home

DanielLiking of wine: 4Comments: Started off promising but fell away on the finishWould you purchase this wine: No

CosMo WInes 2011 CHARDonnAY

Yarra Valley, Victoria10.10% v/v - corkRRP$21.00/bottle

Tasting panelDull, pale straw in colour. Medium to high intensity nose which is buttery and slightly savoury; lacks freshness and varietal fruit. Butter, vanilla and caramel characters on the palate which needs more fruit to carry the oak. Strangely warm for a low alcohol wine. Amazing length, noted one taster.

ConsumersLeoneLiking of wine: 4Comments: Good nose and mouthfeel, a little hot on the back palateWould you purchase this wine: YesMost likely occasion: Picnic/bbq

DanielLiking of wine: 4Comments: Slightly acidic, lingering aftertasteWould you purchase this wine: No

MIstLetoe 2012 HoMe VIneYARD seMILLon

Hunter Valley, New South Wales8.6% v/v - screwcapRRP$22.00/bottle

Tasting panelPale straw colour with a green tint. Florals, talcum powder and green apple on the nose which is a touch simple. Lovely mouth-watering acid in the mouth; palate is very light bodied and zingy with lemony acid overlaid with residual sugar. Chalky finish.

ConsumersLeoneLiking of wine: 5Comments: Nice herbaceous nose; crisp, zingy acid on the palate but not too astringent. Clean finishWould you purchase this wine: YesMost likely occasion: Casual consumption at home

DanielLiking of wine: 4Comments: Sweetish and acidicWould you purchase this wine: No

MonGReL CReeK 2012 seMILLon

Margaret River, Western Australia9.3% v/v - screwcapRRP$19.00/bottle

Tasting panelPale straw in colour. Medium intensity, attractive nose with thiol and herbaceous notes and bean, pea and nettle characters. Light and lean in the mouth with varietal Sauvignon Blanc characters. A little phenolic and bitter. Clean, dry finish.

ConsumersLeoneLiking of wine: 3Comments: Nose ok, palate a little flat, lacks in depth of flavour, too acidic Would you purchase this wine: No

DanielLiking of wine: 4Comments: Fair nose, acidic, lean mouthfeel with aftertasteWould you purchase this wine: No

MIstLetoe 2012 ReseRVe seMILLon


Tasting panelPalee straw in colour with green tints. Low to medium intensity nose features floral, citrus, snow pea and some savoury and herb characters. Lacks some freshness and varietal fruit. Palate is also lean and lacking some fruit characters. ConsumersLeoneLiking of wine: 2Comments: Very astringent, balance between fruit and acid could be betterWould you purchase this wine: No

DanielLiking of wine: 3Comments: Very ordinaryWould you purchase this wine: No





MIstLetoe 2012 sILVeReYe seMILLon


Tasting panelPale straw in colour with slight green tints. White flowers and honeysuckle notes on the nose with some musk. Medium sweet, mouth-watering palate which has simple, clean fruit, including some lime and floral characters. Chalky tannins.

ConsumersLeoneLiking of wine: 6Comments: Nice off-dry style, not too sweet, but the residual sugar lifts the fruit and gives it a good mouthfeel.Would you purchase this wine: YesMost likely occasion: Casual consumption at home with perhaps some Asian or spicy food

DanielLiking of wine: 5Comments: Pleasing aroma and taste; sweet, linger aftertasteWould you purchase this wine: YesMost likely occasion: Casual consumption at home

KRInKLeWooD 2012 bAsKet PRess WHIte


Tasting panelVery pale, yellow gold in colour. A complex nose featuring lifted thiols, a slight buttery character and some citrus fruit. Palate has zesty, lemony acid and good flavour and length; citrus characters predominant. Crisp, dry finish.

ConsumersLeoneLiking of wine: 4Comments: Slightly grassy nose which is a little closed; reasonable balance; lacks some mouthfeelWould you purchase this wine: No

DanielLiking of wine: 5Comments: Pleasant aroma, taste improved over time in the glassWould you purchase this wine: No

LInDeMAns 2011 eARLY HARVest CRIsP DRY WHIte

8.5% v/v - screwcapRRP$14.99/bottle

Tasting panelYellow gold in colour. Intense nose featuring floral characters, subtle fruit, honey, apricots and violets. Good length and balance on the palate but lacks fruit freshness. Not an obviously low alcohol wine, noted one taster.

ConsumersLeoneLiking of wine: 5Comments: Interesting nose, creamy and grassy, fair balance, residual sugar lifts the fruit and mouthfeel; back palate a bit flatWould you purchase this wine: No

DanielLiking of wine: 4Comments: Good aroma, unexciting tasteWould you purchase this wine: No

MARGAn 2012 FRIzzAnte seMI-sPARKLInG seMILLon


Tasting panelPale straw in colour with yellow tints. Clean nose with green, vegetal and honey notes. Palate is light-bodied, spritzy, and has some sweetness but reasonable balance. A good example of a light, sweet, fresh style but somewhat simple, noted one taster.

ConsumersLeoneLiking of wine: 6Comments: Excellent nose - grassy, herbaceous; nice off-dry style, not too sweet, some zing on the palate, good for spicy foodWould you purchase this wine: YesMost likely occasion: Casual consumption at home

DanielLiking of wine: 4Comments: Uninteresting and simpleWould you purchase this wine: No



DInnY GoonAn 2011 eARLY HARVest RIesLInG

Otway Coast, Victoria9.5% v/v - screwcapRRP$25.00/bottle

Tasting panelPale straw colour with green tints. Lemon and apples on the nose. Bright, zesty acid in the mouth which has good fruit depth and balanced sugar. Great length.

ConsumersLeoneLiking of wine: 4Comments: Some strange and unfamiliar flavours in this wine but it’s interesting; lacks something on the palateWould you purchase this wine: No

DanielLiking of wine: 3Would you purchase this wine: No



DInnY GoonAn 2008 eARLY HARVest RIesLInG

Otway Coast, Victoria8.0% v/v - screwcapRRP$25.00/bottle

Tasting panelPale yellow gold in colour. Developed nose which is clean and very intense and showing typical Riesling characters. Palate is medium sweet and light bodied and features lovely intense fruit. Great length of fruit and good acid. One taster thought the wine had a too strong sweet and sour character and had perhaps aged prematurely.

ConsumersLeoneLiking of wine: 6Comments: Nice balance, good nose and lifted fruit, off-dry but not too sweet; creamy and lingering on the palateWould you purchase this wine: YMost likely occasion: Casual consumption at home with Asian and spicy food

DanielLiking of wine: 4Comments: An ordinary Riesling, some age evidentWould you purchase this wine: No

PAXton 2011 teMPRAnILLo

McLaren Vale, South Australia12.0% v/v – screwcapRRP$25.00/bottle

Tasting panelDeep magenta with blue purple tints. Nose is a touch stewy and herbal. A couple of tasters thought they detected a hint of Brett. Palate is a little dried out and lacks complexity and fruit. Light tannins. ConsumersLeoneLiking of wine: 2Comments: Sweet fruit on the nose, bitter palate, too tannicWould you purchase this wine: No

DanielLiking of wine: 5Comments: Exciting aroma, dry finishWould you purchase this wine: No

CHALMeRs WInes 2011 neRo D’AVoLA

Heathcote, Victoria12.0% v/v RRP$29.00/bottle

Tasting panelMid ruby red in colour. Slightly reduced nose with blackcurrant, toasty oak and a hint of roast parsnip. Palate is light to medium bodied and a bit on the green side but has a reasonable balance of oak, acid and fruit. As a developed, light red, it’s not bad, noted one taster.

ConsumersLeoneLiking of wine: 5Comments: Good balance, sweet fruit on the nose which follows on the palate; soft wine but reasonably pleasantWould you purchase this wine: YesMost likely occasion: Picnic/bbq

DanielLiking of wine: 3Comments: Subdued aroma, acid seems a little unbalanced, a bit thinWould you purchase this wine: No

tHoMson estAte 2010 sHIRAz

9.5% v/v RRP$18.00/bottle

Tasting panelDeep ruby in colour with a slight brown tint. Attractive spice and fruit on the nose, including dark berries, as well as chocolate, coffee, toast and spearmint. Medium-bodied palate with attractive spice and good length; mint and menthol characters apparent. An interesting, mature recued alcohol style, said one taster. A good example of a low alcohol red, said another.

ConsumersLeoneLiking of wine: 3Comments: Big structured wine though a little closed on the nose; lacks fruit on the palateWould you purchase this wine: No

DanielLiking of wine: 4Comments: Subdued nose, acidic, unremarkableWould you purchase this wine: No



LInDeMAns 2012 eARLY HARVest Rose

8.5% v/v RRP$14.99/bottle

Tasting panelBright, mid salmon pink colour. A pretty, attractive nose featuring rose petals, musk, strawberry fruit and toffee apple. Palate is a little light on fruit, and has a soft acid structure. An attractive rose with good weight and balance. Slightly cloying finish.

ConsumersLeoneLiking of wine: 4Comments: Reasonable nose, flat on the palate, nice dryness, unremarkableWould you purchase this wine: No




CosMo WInes 2011 sHIRAz


Tasting panelMid ruby in colour. A touch reduced on the nose but has a good concentration of fruit; distinct oak character evident. Good fruit length on the palate as well as attractive, toasty oak, a hint of residual sugar. A savoury finish.

ConsumersLeoneLiking of wine: 5Comments: Nose a little closed but reasonable fruit balance on the palate; easy drinkingWould you purchase this wine: YesMost likely occasion: Casual consumption at home with perhaps a pasta meal

DanielLiking of wine: 5Comments: Good nose, interesting taste, clean, fair aftertasteWould you purchase this wine: YesMost likely occasion: Casual consumption at home

LInDeMAns 2011 eARLY HARVest sHIRAz

9.0% v/v - screwcapRRP$14.99/bottle

Tasting panelDark ruby red in colour. Butter menthol/mint/eucalypt, plum and dusty characters on the nose. Simple, fruity, hollow and slightly sweet on the palate. Moderate length. An interesting, lighter style, noted one taster.

ConsumersLeoneLiking of wine: 6Comments: Good nose, slightly sweet fruit on the nose and palate; residual sugar balances the tannins and lifts the flavour; a good, light quafferWould you purchase this wine: YesMost likely occasion: Picnic/bbq or casual consumption at home perhaps with some spicy food

DanielLiking of wine: 4Comments: Subdued aroma, slightly acidic, ordinaryWould you purchase this wine: No

MCWILLLIAMs 2010 bALAnCe sHIRAz

9.0%v/v – screwcapRRP$15.99/bottle

Tasting panelDeep red in colour. Dark fruits and forest floor characters on the nose as well as coffee and dark chocolate; oak characters evident. Light to medium bodied palate with some fruit and more coffee notes. Chalky tannins. A touch of bitterness on the finish.

ConsumersLeoneLiking of wine: 3Comments: Lacks fruit on the nose and palateWould you purchase this wine: No

DanielLiking of wine: 4Comments: Ordinary aroma, unbalanced, dry finishWould you purchase this wine: No

CosMo WInes 2011 CAbeRnet sAuVIGnon


Tasting panelDeveloped, deep red brick in colour. Hints of dark cherry and cedar notes on the nose. Medium bodied palate which has good weight. Some sweet and sour cherry notes but generally lacks some fruit; vanilla oak characters present. Drying tannins.

ConsumersLeoneLiking of wine: 5Comments: Reasonably balanced wine, good mouthfeel, nose a little closed but sweet fruit presentWould you purchase this wine: YesMost likely occasion: Picnic/bbq

DanielLiking of wine: 4Comments: Restrained nose, acidic, ordinary taste, dry finishWould you purchase this wine: No

LAnGMeIL 2012 LIVe WIRe MeDIuM sWeet RIesLInG

Eden Valley, South Australia8.5% v/v RRP$19.50/bottle

Tasting panelPale straw in colour. Apple, apricot, botrytis, sweet lemon and honey on the nose. Lemony acid on the palate which has good fruit length and beautiful balance. Perhaps a little sweet, noted one taster. An attractive, mid-sweet style, said another.

ConsumersLeoneLiking of wine: 6Comments: Pleasant, off-dry, late-picked style; not too sweet; slight zing on the palateWould you purchase this wine: YesMost likely occasion: Casual consumption at home with spicy/Asian food





PRoDuCts & seRVICes

Until now, printing on glass bottles has had its limitations. The old technology, which comprises the use of

ceramic ink and stainless steel mesh before firing at high temperatures, has not enabled certain PMS colours to be mixed and the quality of print has also been limited.

Newly-available technology and processes using a five-colour UV printing machine, means any PMS colour can now be matched to suit and print logos and artwork. These improved processes and inks offer better print quality and noticeably improved sharpness.

This technology will be available in Australia through ACE Bottle Printers, based at Ingleburn, in New South Wales, at the end of April.

ACE Bottle Printers has been decorating bottles for the past 35 years. The company says decorating wine bottles using the new technology, including tinting, frosting and printing, will be highly competitive with traditional labelling.

“This process can be achieved at one location, which will significantly improve production, transportation time and costs,” a company spokesperson said.

For further information contact ACE Bottle Printers, phone (02) 9605 9545, [email protected], www.acebottleprinter.com.au

Carel, a specialist in humidification and evaporative cooling systems, now offers a new Optimist solution for evaporative cooling and humidification of wineries.

OptiMist features a water inlet circuit, a volumetric pump and two solenoid valves to distribute pressurised water (16 bars). The electrical panel includes the power circuit, a programmable electronic controller and an inverter.

It receives the control signal from a remote control unit or directly from the temperature or humidity probes. The electronic controller calculates the flow-rate of atomised water required to meet the evaporative cooling or humidity demand, and signals the required pump speed to the inverter. This ensures linear modulation of water atomisation, avoiding waste.

Evaporative cooling occurs due to the spontaneous evaporation of the water droplets produced: the change in phase from liquid to vapour subtracts energy from the air, which

is consequently cooled. Evaporation of 100kg/h of water absorbs 69kW of heat from the air. Exhaust air can be cooled by several degrees without restrictions in terms of humidity level. This cooling capacity can be exploited to cool the fresh inlet air, via a heat exchanger, with an efficiency that easily exceeds 50%, depending on the heat recovery unit.This means the size, capacity and power consumption of the cooling coil and chiller can be reduced.

Special care has been paid to hygiene when designing OptiMist to ensure effective Legionella prevention. In fact, the built-in controller automatically fills the lines only when humidification or evaporative cooling are required; empties the lines when there is no humidification or evaporative cooling demand for some time; and periodically washes the lines. The washing cycle is performed using dedicated solenoid valves, and not by spraying the water being drained.

From the point of view of energy efficiency, OptiMist does not create

additional pressure drop for the fans on the air humidification unit, maintaining constant efficiency over time, unlike evaporative coolers/humidifiers using wet deck technology. Furthermore, it can receive a limited signal directly from the exhaust air fan or from the recirculation damper actuator. This innovation optimises evaporative cooling by ensuring water is not wasted.

Compared with existing systems on the market that use wet media technology, OptiMist optimises pump operation using an inverter, resulting in energy savings.

OptiMist guarantees considerable energy savings, providing evaporative cooling in summer and precise air humidity control in winter in a single product, guaranteeing a global energy saving in the management of the Air Handling Units.

For fur further information contact Carel Australia Pty Ltd, phone (02) 8762 9200, email: [email protected], www.carel.om

Australian wineries will soon have access to this five-colour uV printing machine, which can match any PMs colour to suit and print logos and artwork directly onto wine bottles.

New bottle printing technology available in Australia

Optimist: evaporative cooler and humidification in a single product


C L A s s I F I e D s For classifi ed bookings contact: Nicole Evans(08) 8369 9515 [email protected]

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