On 26 December 2017 Gualtiero Marchesi passed away. King, father and undisputed master of modern Italian cuisine, the great Milanese chef has been the first to give Italy a new dignity and gastronomic culture, challenging and renewing the traditions that made Italy a country of taverns and trattorias. A pioneer and innovator with an extraordinary talent, he was the first to introduce in the kitchen of a restaurant in Italy tools and techniques unknown at that time, such as the blast chiller, sous-vide and combi oven. All this happened over thirty years ago, when cooking in Italy was almost made up of taverns and trattorias, strongly rooted in the conviction tradition should be kept at any cost, always the same and incapable of being renewed. In a city like Milan - where, at that time, there mainly were trattorias, especially of Tuscan cuisine - Gualtiero Marchesi has been the first to introduce the so called international cuisine, beginning the revolution today considered the solid reality of Italian cuisine.

Gualtiero Marchesi (courtesy of Gualtiero Marchesi Foundation)

 The extraordinary change introduced by Gualtiero Marchesi began in 1977 - forty years ago - when the great Milanese chef opened his famous restaurant in Milan in Via Bonvesin de la Riva. In just a few years, it became the reference point of the new Italian cuisine as well as a training school for young chefs who have worked in the kitchen of Gualtiero Marchesi. It is not by chance, in fact, many of the celebrated chefs who are today leading the Italian cuisine have been students of Gualtiero Marchesi. A clear and evident sign of the vision that has characterized his revolution, aware of the fact sharing what one knows is the key to success to let an idea grow and pass on. This certainly was not an easy task if we consider the period in which all this happened - the end of the 1970s - when the Italian cuisine was mainly made of the expression of countless local culinary identities.

 Gualtiero Marchesi was born in Milan on 19 March 1930, his parents were restaurateurs coming from San Zenone Po, in the province of Pavia, a place where he has spent his childhood. The destiny of Gualtiero Marchesi seemed to be already written, as - he himself told about this many times - when he was just born, he was put in a large saucepan covered with warm cloths. The great Milanese chef was born in a room of the hotel restaurant Mercato, in via Bezzecca 24 in the district of Porta Vittoria in Milan, owned by his parents. It was in the family restaurant the young Gualtiero Marchesi took his first steps in cooking and soon showed an innovative and enterprising spirit in the kitchen. At the end of the 1940s, he began his professional training at the Hotelier Institute in Lucerne, Switzerland, where he learned the first techniques typical of the great kitchens of hotels, considered at that time the cathedrals of cooking, especially in France.

 When he came back to Italy, he continues to work in the family restaurant where he introduces special dishes that changed the habits and way of seeing cuisine in Milanese people. In a short time, the hotel restaurant Mercato becomes the reference point for famous people and gourmets in Milan. This, however, is not enough for the young Gualtiero Marchesi, who is eager to do even more and put into practice his thought that he will later call total cuisine. He travels to France where he worked in the kitchens of some prestigious restaurants, in particular in the kitchens of the famous Troisgros brothers, an experience that will deeply mark the professional training of Gualtiero Marchesi. Back in Italy, in 1977 he opened in Milan in via Bonvesin de la Riva at number 5, the restaurant that will bear his name, becoming in a few years the best Italian restaurant and conquering in just one year the first Michelin star. In 1986, Gualtiero Marchesi's restaurant conquered the three Michelin stars, the first Italian restaurant to win this award.

 The rest, then, is part of history. A story that has been told by many and that will certainly continue to be told as the work of Gualtiero Marchesi has evidently marked and written the history of Italian cuisine. The change introduced by the great Milanese chef was not limited to cooking only. Gualtiero Marchesi, in fact, thanks to his culture and passion for the arts and, in particular, music, elevates the presentation of dishes to the level of art. He understands, before others in Italy, the aesthetic side of cooking is an integral part of the art of cooking, including the technique, impeccable and perfect, as well as the rigorous choice of ingredients and their quality. He in fact created so many and famous dishes which have become, so to speak, heritage of the Italian cuisine and an example of culinary art, of total cuisine, as Gualtiero Marchesi himself has defined it. A new cooking type - total, in fact - where the act of making a dish becomes essential part of its presentation, in the artistic expression made of ingredients, techniques and aesthetics, capable of involving all the senses.

 It is in fact enough to mention some of his most famous dishes such as raviolo aperto, riso oro e zafferano, seppia al nero or piramide di riso venere to understand Gualtiero Marchesi's cuisine is art beyond cooking. The same art which can also be perceived in dishes of extreme aesthetic simplicity, such as carn'è pesce, insalata di spaghetti con le alici scappate and quattro paste. Not to mention all the dishes that drawn inspiration from the world of painting, such as the famous dripping di pesce inspired by Jackson Pollock's work or rosso e nero, inspired by the work of Alberto Burri. Italian cuisine has lost its greatest, most excellent and divine interpreter as well as father, master and undisputed artist. A lack that, there is no doubt, will be difficult to replace for many years to come, because - with no offense to anyone - I do not personally see cooks to be at the level of the genius and talent of Gualtiero Marchesi, capable of introducing such a radical and revolutionary change as he did.

 In Italy we have a many prepared, competent, good and very good chefs, each of them certainly owes a lot to Gualtiero Marchesi for having shown the way, many have copied him in a more or less evident and questionable way, but no one has equaled him. He was the first one to improve the dignity of the chef's profession in a country where, before him, this job was certainly not considered noble. Today the career as a chef is seen as prestigious and pursued by many, often with the illusion that cooking, after all, is simple, spectacular and everyone can do that. This was certainly not the case in 1977 when Gualtiero Marchesi began his revolution and gave life to modern Italian cuisine. At that time in Italy, in the majority of cases, there were innkeepers and managers of taverns who in the dishes put food cooked in an approximate and technically questionable way. Then Gualtiero Marchesi changed everything and Italian cuisine has never been the same and will never be the same again. The cultural and culinary heritage of Gualtiero Marchesi will be forever part of Italian and international cuisine. This is why anyone who has an interest or passion for cooking owes Gualtiero Marchesi a lot more than a simple thanks and gratitude. The inheritance Gualtiero Marchesi left us is an immense heritage being worth way more than gold. Just like the gold leaf he placed on his rice and transformed it into an eternal masterpiece.

 This month we will focus on two red grapes from France and Spain. The wines produced with these two grapes - Gamay and Carignan - will be compared with the contrast technique in order to understand their respective differences. These two varieties have a good reputation in the world, they are not exactly considered international grapes, they however are cultivated outside their respective lands of origin. Both grapes have originated a certain confusion, and their names are sometimes used for other varieties that, with the original ones, have no connection. This kind of confusion, it must be said, has also been typical in other grapes, especially those of French origin, and only thanks to genetic research it has been possible to clarify the misunderstanding. Gamay and Carignan are two very different varieties which differences are evident in their wines as well.

 Gamay undeniably is the enological glory of Beaujolais, the famous French area near Lyon and recognized as Appellation d'Origine Contrôlée (AOC). Beaujolais and Gamay are mainly known for vin noveaux - also known as vin de primeur - however this grape is also widely used for the production of other wine styles as well. A very different grape and, in particular, known for producing wines having a more structured body than the so called vin nouevau is certainly Carignan. This variety originates from Spain, where it is still cultivated, and then spread to the western Mediterranean area, in particular Sardinia and France. Both varieties give life to wines of personality and character, with different organoleptic qualities, especially in terms of aroma and structure. This also depends on the enological techniques used with these grapes: Gamay is usually vinified in inert containers, Carignan in wooden barrels.

 Gamay owes its fame mainly to the so called vin nouveau - known in Italy as vino novello - a style of wine produced by carbonic maceration and marketed few weeks after harvesting. This variety is closely associated to the territory of Beaujolais, recognized as AOC (Appellation d'Origine Contrôlée) of France, where this style of wine represents the main production. The wine obtained with this technique is characterized by intense vinous and fruity aromas, with an appreciable acidity and good color. However, it should be noted Gamay is also used for wines produced according to the canonical wine making methods, that is grape pressing, fermentation and aging. In fact, it should be noted that, in Beaujolais, wines are also produced with this method, even though they represent a minority compared to total production, generally identified on the label with the sole name of the cru of origin, in order to differentiate them from the famous nouveau style.

 The relative spreading of Gamay outside its main territory has been cause of a certain confusion, its name has been in fact used for identifying grapes that, with Gamay, have no connection. Among these are Jurançon grape, Napa Gamay - which in fact is Valdiguié - Gamay Beaujolais, an early ripening Pinot Noir clone, Gamay du Rhône and Gamay St-Laurent which actually are Abouriou and finally Gamay del Trasimeno, actually corresponding to Grenache Noir. In order to avoid further confusion, the correct name of this variety is Gamay Noir à Jus Blanc (black Gamay with white juice), due to its special characteristic of having a black skin and white flesh. As far as its origin is concerned, genetic research carried out on Gamay has revealed similarities with Pinot and Gouais Blanc, thus justifying its origin in the territory of Burgundy. Finally, it should be noted that, in addition to the territory of Beaujolais, Gamay Noir à Jus Blanc is found in the Loire, used for the wines of Touraine, Anjou and Saumur.

 Originally from Aragon, in Spain, Carignan is a variety having a good enological interest. Because of its appreciable acidity and astringency, this grape often turns out to be a rather challenging wine making exercise aimed at achieving balance and the mitigation of its peculiar characteristics. From Spain Carignan was introduced in Sardinia and, from here, it arrived in France and then moderately spread in other areas of the western Mediterranean area. In its country of origin, this variety is known as Cariñena or Mazuelo, in France it is known as Carignan, while in Sardinia, where interesting wines are produced from this grape, it is also known as Bovale Grande. On this regard, it should be noted this variety, because of the name that could cause confusion, has no connection with Bovale Sardo, an important red berried grape native to Sardinia.

 In France, Carignan is mainly found in the territory of Languedoc-Roussillon, while in Spain - its land of origin - besides being found in Aragon, the variety is also present in Catalonia. Carignan is also cultivated in the northern territories of Africa - in particular Algeria, Morocco and Tunisia - also found in California, although its role is now rather marginal. Grape characterized by appreciable acidity and astringency, the wine making of Carignan often involves the use of barrels and barriques in oder to mitigate and balance its typical “harshness” with the softness given by wood and time. However this is not an exclusive practice, as Carignan wines are also produced in inert containers as well as being used in the production of the so called vin nouveau, often blended to other varieties. The cultivation of Carignan is quite demanding in the vineyard because of its sensitivity to powdery mildew and downy mildew. However, this has not limited its spreading, as its high productivity promises the certainty of an abundant harvest, a characteristic that has been particularly appreciated in the past.

	The color of Carignano del Sulcis

 The tasting by contrast of this month is very different from those of the past, as we will consider two styles of wine extremely different from an enological point of view. In addition to understanding the differences between the two grapes - Gamay and Carignan - we will also possibly focus on the effects of different wine making practices. Specifically, we will compare a wine produced by carbonic maceration - Gamay - with a wine aged in cask, in our case Carignan. As for the wine produced with the French grape, our choice will be in favor of the famous Beaujolais Nouveau, therefore belonging to the latest vintage. The choice of wine produced with the Spanish grape will be in favor of Carignano del Sulcis, in Sardinia, by making sure it has been aged in cask and with a maximum of three years. Serving temperature will be different for the two wines: Beaujolais Nouveau is served at 16 °C (60 °F), Carignano del Sulcis at 18 °C (65 °F). Both wines are served in tasting glasses.

 Let's pour the two wines into their respective glasses and start our tasting by contrast. The first wine we will consider is Beaujolais Nouveau, that is the one produced with Gamay by carbonic maceration. Let's tilt the glass over a white surface and observe the color of Gamay at the base: we see an intense and brilliant purple red with a moderate transparency. Let's now evaluate the nuance of Beaujolais Nouveau by looking at the wine towards the opening of the glass, where it becomes thinner: the purple red color is more evident with shades that definitely recall blue. Let's now pass to the color of Carignano del Sulcis and, again, we tilt the glass over a white surface. The color, observed at the base, is intense and brilliant ruby red, with an average transparency, however lower than Beaujolais Nouveau. Nuances, observed at the edge of the wine towards the opening of the glass, show a ruby red hue.

 The olfactory profiles of Gamay and Carignan are very different, differences becoming more evident in our specific case, as we have chosen a Gamay vinified with the technique of carbonic maceration. It should be noted that the olfactory profile of carbonic maceration wines greatly differs from those produced according to the usual wine making practices and with the same grapes. It should also be noted that, due to the particular effects produced by carbonic maceration, the so called vin nouveau, which are produced with this technique, tend to have a similar olfactory profile. It should also be noted that even the olfactory profile of the Carignan chosen for our tasting by contrast will be, so to speak, altered by the effects of the aging in wood. As we have already said, in fact, the purpose of this tasting by contrast is also to understand the effects and differences of wine making practices different both by method and technique.

 The first wine of which we will evaluate the olfactory profile is Beaujolais Nouveau, that is Gamay. Let's hold the glass in vertical position and, without swirling it, let's do the first smell in order to evaluate the opening of the wine. To the nose we perceive intense aromas that directly recall red fruits, in particular raspberry and cherry. Moreover, we perceive an aroma that we would not expect to find in a red wine - banana - typically found in wines produced by carbonic maceration. After having swirled the glass, the olfactory profile of Beaujolais Nouveau is completed with blackberry, blueberry, cyclamen, violet and fruit candy. Let's now pass to Carignano del Sulcis and evaluate its opening. The difference with the previous wine is, as you can expect, quite remarkable and with a clearly more mature character. To the nose we perceive intense aromas of black cherry, plum and violet combined with the spicy sensation of vanilla given by the aging in wood. After having swirled the glass, the profile of Carignano del Sulcis is completed with blueberry, tobacco, chocolate, raspberry and a slight balsamic sensation recalling menthol.

 Let's now evaluate the gustatory qualities of our wines, starting - as in the previous phases - from Gamay, that is Beaujolais Nouveau. Take a sip of the French wine and evaluate the attack, that is the initial sensations perceived in the mouth. We perceive an appreciable acidity while the astringency of tannins will be rather modest. The structure of Beaujolais Nouveau is clearly weak and the flavors of raspberry, cherry and banana are perceived in the mouth. Let's now proceed with the evaluation of the attack of Carignano del Sulcis and take a sip of this wine. Astringency is one of the qualities that can be perceived from the beginning as well as acidity, sensations that will certainly be mitigated by the effect of the aging in wood. The structure, compared to Beaujolais Nouveau, is evidently greater and well perceptible. The correspondence to the nose, also in this case, is very good: in the mouth we perceive the flavors of black cherry, plum, raspberry and blueberry.

 The last phase of our tasting by contrast is about the evaluation of the final sensations left in the mouth by the two wines. Beaujolais Nouveau has a finish of good persistence, leaving in the mouth its characteristic acidity and a rather modest sensation of structure. The flavors of cherry, raspberry and banana continue to be perceived and the astringency is practically imperceptible. The finish of Carignano del Sulcis is persistent, leaving in the mouth a sensation of structure of an evidently fuller body compared to the previous wine, with flavors of black cherry, plum and blueberry. Astringency is clearly perceptible with a pleasant sensation of acidity. The tasting by contrast of this month undeniably compared two grapes and very different wine making styles. A useful exercise to understand how production techniques are often decisive in defining the personality of wine, a result that begins - last but not the least - in the vineyard. In fact, it must be considered that every style and wine making practice requires grapes and specific aging as well as being functional to the wine to be obtained.

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