Every wine lover has certainly heard of mineral wines or – at least – of the minerality of wines, possibly remaining completely confused or, perhaps, imagining that they will somehow find in the glass pebbles or solid substances in the form of fascinating crystals. Perhaps imagining – maybe for having heard it saying – those particular and elegant minerals are nothing more than the unequivocal sign of the soil in which the vine is grown, which generously donates its bunches to make that wine. Personally, I have been reading or hearing about the minerality of wines – or mineral wines – for over thirty years and, frankly speaking, I have heard the most disparate and imaginative definitions. Including the fairy tale of mineral substances – here intended as insoluble solid and crystalline inorganic compounds, therefore not the salts we define as “nutrients” – which, from the zealous root of the vine, magically reach the grape and, from here, give all their beauty to the wine that will be. Let's immediately clarify this point: the minerality of a wine has nothing to do with the soil or the territory, much less with the concept of terroir.

 In this regard, I need to make a necessary premise: when I taste a wine and I happen to perceive those sensations associated to the concept of minerality, I make use of this descriptor – and you can also find it in some detail forms of our Wine Guide – but I certainly never allude to or intend to support any olfactory or gustatory association referred to minerals in the strict sense. With this I am not excluding some mineral substances are characterized by a specific smell, which is actually subtle and light, after all, it is enough to pass your nose over them to be able to perceive it. Or in the case of the effect of a mechanical or thermal action: simply rub some types of minerals vigorously together and smell. Then there are more generous minerals in this sense, such as flint (especially after rubbing) or warm stone. In any case, it is never about the actual presence of that mineral in the wine. For the sake of completeness, neither those minerals nor any other type of mineral. Much less those that, with a lot of romantic and impossible imagination, are absorbed from the ground and are magically found in the glass, in all their sensorial splendor, at the end of vinification and aging.

 Around this sensorial descriptor, however, I notice a certain interest in wine enthusiasts, in particular the will – or better, the need – to have some kind of clarification and, last but not least, to know a precise definition. This is what I can see in the majority of tasting classes that I have been organizing and holding for decades: every time, punctually, at least one participant asks for an explanation on the concept of minerality of wines. I have already written in the past in the pages of DiWineTaste what is meant when the “mineral” descriptor is used, although there is no common or widely accepted definition, neither among tasters nor enthusiasts. The thing that can be said, without fear of contradiction, is that the concept of “minerality” is anything but the sensorial stimulus produced by substances belonging to the so-called “minerals”. Stating that a mineral character is perceived in a wine – at least and certainly for me – is not referred to the presence of any mineral substance or, even less, to any imaginative and extremely impossible probability of mineral substances absorbed by the vine directly from the ground.

 If mineral substances, even those which are sometimes used as descriptors are not found in a wine, why are they mentioned? After all, if there is no trace of flint, of any warm stone in a wine – and without any shadow of doubt, there aren't – why use them as a reference for the sensorial description of a wine? I could answer by saying that, in a wine – any wine – there is no trace of banana at all, yet this descriptor is widely accepted and used. However, isoamyl acetate is present, an ester whose smell is reminiscent of banana. This is to say that, in the sensorial description of a wine – as well as of many other foods and beverages – are used terms and descriptors which, by analogy, define an odor. Certainly, for the majority, the descriptor banana rather than isoamyl acetate is easier to understand and associate. The same is therefore true for most of the descriptors used in sensorial tasting, including minerality, that is we make use of description by analogy.

 Things are quite different, of course, for substances commonly known to anyone and actually found in wines, such as ethyl alcohol and acetic acid, therefore vinegar. In these cases it is not used a description by analogy and it is used its name instead. As for the minerality, however, a proper clarification should be made, noting that – in fact – there has also been a lot of confusion and the term has been used, and is still used, with careless superficiality and allusion. Above all, as already mentioned, with the intention of attributing supposed sensorial characteristics to the wine which are believed to be a direct expression of the soil where the vines which produced the bunches used to make that wine grew. Let's be clear: climate, environment, trend of the season, type of soil, cultivation practices and, last but not least, grape variety, are all factors influencing the sensorial qualities of a wine, although not being the only ones. To these must be added, undeniably, the operations performed by man at the time of the harvesting of bunches up to the moment the wine is poured into the glass. It is however and certainly excluded that the roots of the vine are capable of absorbing the solid mineral substances of the soil and making them reach the grape.

 So what is the minerality of a wine? Or better, what produces that sensation which is variously defined as “minerality” in a wine? In this regard, it must be said there is no exact and reliable description of the reasons determining this sensation in a wine. It must be said that, very often, this sensation is generally perceived in white wines characterized by a strong acidity, often produced – but not exclusively – in territories with a basically cold climate. Furthermore, the sensation of minerality is often found in wines from vineyards cultivated in basically alkaline soils, such as those with a high percentage of limestone or chalk. The most probable reason or, at least, the one that seems to have a quite accepted foundation, is that the sensation of minerality is produced by the reduction of certain sulfur compounds and which is mainly perceived by the nose. This condition – in fact – is conditioned by wine making factors and practices as well as by the ripening of the grapes at the time of harvesting, last but not least, by the type of closure used for the bottle and which directly influences the creation of a reduced environment, that is, it limits the exchange of oxygen.

 For some, minerality is an unmistakable sign of quality, as well as the expression of the territory through wine: in both cases, let me express my utmost and convinced perplexity. It should also be noted, in fact, that a wine defined as mineral, in case it is subjected for a sufficient time to the action of oxygen, this characteristic gradually tends to attenuate, thus making one think that it is – last but not least – a phenomenon linked to the reduction of sulfur compounds. Back to the olfactory analogy of isoamyl acetate and banana, it is certainly more understandable – even though nebulous – to define a wine as mineral rather than stating it is being perceived a smell of reduced sulfur compounds. Of the two, the former seems to me the lesser evil one and probably more understandable despite the difficulty of having and using a shared and reliable definition. There is no doubt the story and the fad for mineral wines have been well exploited by producers and “experts” for purely speculative as well as commercial and promotional purposes. However, the fact remains that mineral is an organoleptic descriptor widely used for over twenty years now, despite – it must be acknowledged – it has often been used inappropriately and carelessly. So, while waiting for a valid alternative descriptor to be found, and hopefully even the certainty of a rigorously scientific definition and explanation, we can continue to use the term “mineral”. Possibly, it seems appropriate to say, cum grano salis.

 Sparkling wines have always evoked the joy and cheerfulness of significant moments, often solemn, despite the fact they are now equally appreciated even in contexts in which there is no particular event to celebrate, if not good company and good food. Bubbles, undeniably, are capable of particular finesse and elegance, a quality we do not find in any other style of wine. This obviously does not mean other styles of wine are not capable of expressing elegance and finesse – indeed, the opposite is true – but it is undeniable that those expressed by quality sparkling wines are certainly unique. Not all sparkling wines are the same, of course, and depending on the grapes used for the production and, in particular, on the method of making the sparkling wine, the expression of their character – including finesse and elegance – changes substantially.

 From this point of view, the availability of sparkling wines is so wide in most of the wine-producing countries of the world, such as to satisfy anyone's curiosity and satisfaction. Not only in countries with a consolidated sparkling wine tradition – such as France, Italy and Spain – but also in emerging countries with a short history, where bubbles of sure interest are made. Thinking of sparkling wines produced with the classic method – that is with refermentation in bottle, a style to which the two wines we are examining this month belong – the grapes which are mainly associated, and with good reason, are Chardonnay and Pinot Noir. Varieties which, with classic method sparkling wines, reach peaks of indisputable excellence, are used all over the world for the production of this style of wine. However, time and experimentation have made it possible to discover other varieties capable of giving classic method sparkling wines of extraordinary finesse, elegance and complexity. For this reason, this month's tasting by contrast examines two classic method sparkling wines produced in different territories and with different grapes: Erbaluce di Caluso Spumante Brut, produced in Piedmont with the homonymous grape, and Trento Brut from Chardonnay and Pinot Noir.

 Erbaluce is a white berried variety from Piedmont capable of making wines of considerable enological interest. This grape is in fact a rarity in the Italian wine scene, as its presence is almost exclusively recorded in its place of origin, that is in the territory of Caluso, in the Canavese area, north of Turin. Furthermore, Erbaluce is characterized by an interesting enological versatility such as to allow the production of dry white wines – certainly the best known style – as well as sweet wines from dried grapes and, lastly, classic method sparkling wines. The wines produced with this grape in the Caluso area are recognized by the Italian quality system as Denominazione d'Origine Controllata e Garantita (Denomination of Controlled and Guaranteed Origin, DOCG), providing for dry white, passito (sweet) and classic method sparkling wine styles. The denomination, for the sake of completeness, takes the name of “Erbaluce di Caluso” or, simply, “Caluso”, therefore giving the wines a strong identification with the place and territory of origin.

 A grape of uncertain origins, it is believed to be autochthonous of the Caluso area and the first written information dates back to 1606. This variety, in fact, is mentioned in the work “Della eccellenza e diversità dei vini che sulla montagna di Torino si fanno e del modo di farli” (On the excellence and diversity of the wines that are made on the Turin mountains and of the way of making them) by Giovan Battista Croce, jeweler of Duke Carlo Emanuele I. In this document we read Erbalus is a white grape taking its name from alba luce (white light) because of its characteristic of shining in the light, also underlining its good wine making quality. Genetic investigations conducted on this variety would suggest a probable derivation from Cascarolo Bianco, another ancient Piedmont variety. If it is true Erbaluce wines enjoy a long and consolidated history, the production of classic method sparkling wines is instead much more recent, started in the 1960s, becoming over time an identifying style both of the territory and of the variety. In accordance with the production disciplinary, Erbaluce di Caluso Spumante is produced with the classic method only and with 100% of the homonymous variety, the aging in the bottle on its lees must be at least 15 months.

 The territory of Trento is definitely among those which, in relatively recent times, has been capable to affirm its enological success through the production of classic method sparkling wines. Although the sparkling wine tradition of this territory is now decades long, the success associated to the territory and its name is a more recent event, culminating in the recognition of the Denominazione d'Origine Controllata (Denomination of Controlled Origin, DOC). This event, in fact, also introduced the use of a further definition for the classic method sparkling wines of this territory – Trentodoc – often used, even by producers, to such an extent that it is stated in the labels as well. The success of Trento's sparkling wines is evidently the result of the quality that has been expressed here for decades as well as the particular vocation of these lands for the production of classic method sparkling wines, well supported by the favorable geological and climatic conditions.

 The composition of Trento's sparkling wines – in accordance with its production disciplinary – is expressed by the varieties which more than others are used in the production of classic method sparkling wines: Chardonnay, Pinot Blanc, Pinot Noir and Pinot Meunier. These grapes can be used both blended together and alone, therefore allowing the producers wide wine making possibilities as well as expression, from the so-called Blanc de Blancs to the Blanc de Noirs, as well as Rosé. In accordance with the production disciplinary, Trento must referment in bottle and age on its lees for at least 15 months, while for the Riserva style this period cannot be less than 36 months. As far as vintage wines are concerned, the year of vintage can only be indicated for wines with at least 24 months of aging in the bottle with their lees. As regards the use of the grapes, although the disciplinary allows for four varieties, the most used ones are actually Chardonnay and Pinot Noir, leaving Pinot Blanc and Pinot Meunier a decidedly marginal role.

The color of Erbaluce di Caluso Spumante Brut

 Before starting this month's tasting by contrast, let's get the two bottles we will pour into the glasses. In both cases, the style we are considering is brut, therefore sparkling wines with a sugar dosage between 6 and 12 grams per liter. A quantity that, it must be said, in case of the upper limit, can produce a sensation of evident sweetness, however slight, and which has the effect of defining the gustatory profile of the wine. The search for these two wines is not difficult, in particular Trento, a wine having a wide commercial spreading and practically found in every wine shop. In both cases we will choose wines sans année, that is “without vintage”, therefore non millésimés. Specifically, we will choose wines refermented and aged in bottle for a relatively short period of time and which for both denominations is 15 months. As far as the composition is concerned, we will pay attention to the one of Trento Brut, trying to get a bottle produced with Chardonnay and Pinot Noir, possibly in equal parts. The wines are poured into their respective tasting glasses at a temperature of 10 °C. (50 °F)

 Let's pour the two wines into their respective glasses and start this month's tasting by contrast, by examining Erbaluce di Caluso Spumante Brut. Let's hold the glass in vertical position and observe the wine from the side, in order to appreciate the development and quality of bubbles, that is of the so called perlage. From the bottom can be seen chains of tiny bubbles developing towards the top. Let's now observe the wine from above: the bubbles move towards the wall forming a “crown” of thin, almost creamy foam. Let's now tilt the glass over a white surface and observe the base. The color of Erbaluce di Caluso Spumante Brut is intense and brilliant straw yellow, with very high transparency. We now pay attention to the opening of the glass, in order to appreciate the nuances of the wine. We note a straw yellow color, often tending towards gold. Let's now pass to the evaluation of the appearance of Trento Brut, starting from the examination of bubbles. Also in this case they develop with very tiny and persistent chains which, once they reach the surface, are arranged neatly on the inner wall of the glass forming a thin and creamy crown. The color of Trento Brut is pretty similar to the previous wine: intense and brilliant straw yellow – with very high transparency – and straw yellow nuances.

 The olfactory profile of sparkling wines produced with the classic method is the result of the expression of different factors, many of which are of technological, therefore enological, derivation. To these factors are also added the specific olfactory qualities of the varieties used for the production which, according to the various making factors, can undergo substantial sensorial alterations. In this regard, the most important technological factors include the refermentation in bottle, the liqueur de tirage, the autolysis of the yeasts – which therefore impart their “character ” to the wine – the aging time in bottle and the composition of the so-called liqueur d'expédition. The expressive potential of the grapes used for the production of a sparkling wine therefore depends on the skill and competence of the wine maker, last but not least – and definitely, very important – on their quality at the time of harvesting and on the enological practices carried out for the production of the base wine.

 Let's continue our tasting by contrast and proceed with the evaluation of the olfactory profiles of Erbaluce di Caluso Spumante Brut and Trento Brut, starting from the wine produced in Piedmont. Let's hold the glass in vertical position and, without swirling, do the first smell in order to examine the so-called opening of the wine, that is the identifying and primary olfactory qualities. To the nose we perceive intense and clean aromas in which we recognize apple, plum and chamomile as well as a clean sensation reminiscent of bread crust. Let's now swirl the glass, in order to allow the development of the other aromas, and do the second smell. From the glass are now perceived aromas of hawthorn as well as pear, hazelnut, citrus fruits and grapefruit, to which are added the scent of yeast. Let's now pass to the evaluation of the olfactory profile of Trento Brut, therefore – without swirling the glass – let's do the first smell and examine the opening. To the nose we perceive intense and clean aromas of banana, acacia and raspberry as well as clean sensations of bread crust. After having swirled the glass, the olfactory profile of Trento Brut is completed with hawthorn, apple, pear, tangerine, plum, peach and pineapple as well as the olfactory contribution given by yeast.

 Let's now pass to the evaluation of the gustatory profiles of the two sparkling wines, starting – as in the previous two phases – from Erbaluce di Caluso Spumante Brut. Let's take a sip of the Piedmontese sparkling wine and evaluate the attack, that is the initial sensations perceived in the mouth at the first sip. The primary gustatory quality perceived is the effervescence produced by carbon dioxide, clearly perceptible and not excessive with respect to the balance of the wine. We can also perceive the crispness given by the acidity and which finds the right balance both by the effect of alcohol and by the sensation of slight sweetness produced by the liqueur d'expedition which, according to the brut style, can also be 12 grams of sugar per liter. In the mouth we perceive flavors of apple, plum and hazelnut, therefore expressing good correspondence to the nose. Let's move on to the evaluation of the gustatory profile of Trento Brut and take a sip. Also in this case the attack is characterized by the pleasing effervescence produced by carbon dioxide, in perfect balance with the other gustatory sensations of the wine. We can perceive the evident crispness of acidity, also in this case well balanced both by alcohol and by the slight sweetness and roundness of the wine. In the mouth, finally, we perceive flavors of banana, apple, raspberry and tangerine.

 The last phase of our tasting by contrast examines the final sensations the two wines leave in the mouth after swallowing, in particular, the taste-olfactory persistence. As it is known, this indicator is expressed by the time during which it is possible to perceive taste-olfactory sensorial stimuli after swallowing and before their decay, a primary indicator of wine quality. The finish of Erbaluce di Caluso Spumante Brut is persistent and in the mouth we continue to perceive both the crispness of acidity and the pleasing hint of sweetness combined with a perceptible roundness. We also continue to perceive the flavors of apple, plum and hazelnut. The finish of Trento Brut is persistent, leaving in the mouth the pleasing sensation of crispness well balanced by the slight sweetness produced by the liqueur d'expedition and the almost creamy roundness given both by time and by the contribution of the Chardonnay grape. In the mouth we continue to perceive the flavors of banana, apple, raspberry and tangerine. Before ending the tasting, let's place the two glasses side by side and do a last smell, first Erbaluce di Caluso Spumante Brut and then Trento Brut: the differences between the two wines are clearly perceptible.

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