Degustation

A degustation represents an organoleptic (sensory) test and an assessment based on it.

The sensory organs eye, nose and tongue are used for this purpose in a dedicated way. One not only experiences the wine in detail, but also oneself in a certain way, as an unusually intimate dialogue with one's own sensory organs is strived for. This 'sensory dialogue' can, in turn, subsequently be expressed in descriptive words. Experts and connoisseurs often communicate with each other using a remarkably sophisticated vocabulary of these descriptive words. As early as the famous French chemist Jean-Antoine Claude Chaptal (1756 - 1832; among others, inventor of the 'chaptalization' of a wine) used more than 60 specific technical terms.

While tastings can take place informally with merchants and among friends (or even alone), there are also tastings that are carried out, for example, as part of a competition with precisely defined, strict rules by experts and connoisseurs.

Informal tastings are very popular among novices as well as connoisseurs, as they offer the (rather rare) opportunity to taste several champagnes very cheaply or even for free. Moreover, wine knowledge also requires practice and cannot only be acquired 'theoretically'. Tastings offer ideal conditions for this valuable practice!

A tasting of several champagnes is particularly appealing, since all champagnes are very good by nature. In the end, the assessment of champagnes is highly subjective, especially since there is no such thing as a 'bad champagne', but only those champagnes that more or less inspire the one or other connoisseur in terms of personal taste. Moreover, informal tastings are often wonderful 'voyages of discovery into the world of champagne', which no one who has the opportunity to participate should miss.

Formal tastings, on the other hand, are more elaborate, characterized by rules and reserved exclusively for experts and connoisseurs. Even the invitation is often a great honor. Here, it is not only about subjective but also about (best possible) objective assessment. When tasting a champagne, professionals can put their natural, subjective perception aside and, due to a lot of experience, memory, trained olfactory acuity and the ability to concentrate, can judge almost objectively.

A professional may thus personally (subjectively) judge a particular champagne to be, say, 'too sweet', but it is not a matter of his/her preference, but of the proper study and assessment of the characteristics of the wine at hand. A professional's (rather objective) judgement of 'how sweet' a champagne actually is, for example, can often also be (objectively) confirmed by the results of a chemical analysis. In addition, professionals use certain descriptive words ('wine address') in their descriptions, which in their rather objective nature are considered to be factually sound and generally comprehensible references for experts, connoisseurs and novices. There are professional tasters in many countries who can also indirectly influence the financial fate of a Champagne house through their judgments (e.g. in books, magazines, online publications, etc.), either positively or negatively. Formal tastings are thus very important and meaningful events with consequences!

Tasting sessions are available in several variations:

Often a 'horizontal tasting' is offered with several champagnes of similar genres from different houses. This kind of tasting is very interesting, because even champagnes of the same or similar type (and possibly even of the same vintage) can differ strongly in taste. Sometimes, a 'bomb' is also added, whereby it can be, for example, a fantastic, worthy champagne, which is simply beyond the scope.

'Vertical tastings', on the other hand, deal with different vintages, for example .

In an open tasting, the champagnes in each glass are known. In a semi-blind tasting, the champagnes are also known, but not which champagne is in which glass. In a blind tasting (blind tasting, 'covered'), the bottles are covered with paper or cloths. The original corks of the champagnes are also replaced by simple pointed corks.

Stage 1: The eye

In this first phase, the color, clarity and, in the case of champagne, additionally the play of pearls is considered. Normally, the table is covered with a white tablecloth or white placemats, so that the colors can be shown to their best advantage in contrast.

The color of a champagne can reveal a lot:

* A very pale yellow generally indicates a young champagne.

* A straw yellow color often indicates a Blanc de Blanc (purely from Chardonnay grapes). Present green reflections here and there are a sign of its youth.

* A distinct straw yellow champagne indicates a Pinot Meunier grape blend.

* Golden yellow could be an indication of a Blanc de Noir (Pinot-Meunier and Pinot-Noir) or a Champagne made predominantly from dark grapes (80%+).
Maturing the champagne in a wooden barrel can also prove to be a relevant factor in terms of colour.

* Old gold generally also indicates a Blanc de Noir. A deep old gold testifies to an old, worthy champagne in full maturity (see also Alterston and Firn in the dictionary).

* A delicate pink (or rosé), salmon pink to pronounced pink indicates (intentional) coloring by red wine and/or maceration (maceration: contact with the skin of the dark vines. Color pigments are obtained by soaking in the juice). An older, worthy rosé may also develop a slight copper tint.

* A slightly brownish color could indicate an oxidative change (not always negative) in the champagne.

To determine the color intensity, the glass is held at an angle against a white background and its center is observed.

Clarity and purity in Champagnes is a very desirable characteristic. The glass is raised to allow the light to soak into the wine. Any cloudiness represents a flaw in the wine. A champagne should simply always sparkle!

The play of pearls is also looked at more closely. Particularly fine, 'creamy' pearls are often recognised as a sign of quality (large-pored pearls, on the other hand, are despised). The way the pearls behave in the glass (both when rising and on the surface) is also important. When rising, consistency and continuity are observed: Ideally, the pearls should rise in a uniform size, vividly and evenly (weak or inconsistent is not desirable).

The color of the foam should be snow-white.

The behaviour of the pearls on the surface should also be looked at more closely (how and where they form on the surface of the wine - e.g. 'leisurely behaviour' rather than 'rapid bursting' etc.). Please read more about the interesting topic of 'pearls' under 'The precious pearls of champagne'.

Stage 2: The nose

This second stage is very important, as the nose is arguably the most powerful sensory organ in a tasting. Incidentally, what we commonly think of as 'taste' is usually the additional interpretation of the scents conveyed to the nose via the retronasal channel in the mouth, rather than just the results of the tongue.

The taste buds of the tongue itself are simple and reliable for 'sweet, sour, salty or bitter'. In contrast, a whopping 10 million receptor cells are available to us in the nasal cavities for the perception of scents.

In order to make the best use of them, let the champagne circulate in the glass, then lower your nose into the tulip glass (or tasting glass) and breathe in and out in a concentrated manner (with champagne, rather shorter and more often than long, in order not to tire the nose). In these moments, certain fragrances will become noticeable, which may remind you of flowers (violets, roses,...), plants (tobacco, hay,...), fruits (pears, apples, bananas,...), spices (pepper, vanilla,...), wood, leather, fresh bread and much more.

Moreover, the corresponding grapes in the champagne often contribute typical characteristics by nature. For example, the Chardonnay grapes often come across as floral, the Pinot-Meunier spicy and the Pinot-Noir fruity.

Since champagnes are often blends of several grape varieties, the bouquet can sometimes appear very complex. The age of a champagne can also be reflected in the bouquet. An originally fruity scent can give way to a sweet, complex bouquet with age, which can then also be reminiscent of yeast.

It should also be noted that the nose should not be overstrained, as this sensory organ by nature increasingly switches to 'insensitive' when overstrained. It is therefore important to perceive the first impressions very attentively and then immediately try to mentally connect these impressions with descriptive words and write them down.

Stage 3: The mouth, the tongue, the palate.

In the third stage, the champagne is now tasted. The glass is held by the stem or skillfully (with thumb and forefinger) by the foot and an appropriate sip (not too big) is put in the mouth.

At the same time, air should be taken in together with the wine. At a tasting, this kind of discreet slurping is quite allowed, as this air connection additionally unfolds the wine in its flavours. The champagne is now moved back and forth in the oral cavity so that it optimally meets the different zones of the tongue and palate. The reason for this is that the tip of the tongue, for example, is responsible for 'sweet', while the sides of the tongue are responsible for 'salty' and 'acidic', and the base of the tongue is responsible for 'bitter'. The simultaneous intake of air is important because additional precious scents are fed to the nose via the retronasal channel in the mouth, which completes the sensation of 'taste'. Champagne also brings out the slight tingle of the bubbles on the palate.

It is also important to pay attention to the highly elegant acids in champagnes. Many champagne fans pay particular attention to the reverberation from the two "back corners" of their palate (see also acidity).

In informal tastings, the champagne is often sipped afterwards to check the 'finish'. In formal tastings, the sip is usually spat into an appropriate container after evaluation.

The evaluation of the sensations in the mouth is not easy, even for professionals, because the sensations of 'sweet' and 'sour' also influence each other. The same applies to the sensation of 'salty', which in turn emphasizes 'sweet'. The motto is to concentrate as best you can on these particular zones and try to evaluate them separately. Even with a lot of practice and patience, however, this is not always successful.

The notes and comments from the first two stages (eye, nose), together with the results of this stage (mouth, tongue and palate), can be used to define the overall impression of a champagne.

Evaluation systems

There are several formal rating systems for tastings.

* In Europe, the '20-point system' is common in different variants.

* In the USA, as well as in parts of Europe, the more sophisticated '100-point system' is popular. This system is extraordinarily precise and strict with regard to details.

* The DLG (German Agricultural Society) uses the well-known '5-point system'.

A small list

There are hundreds of descriptive words and terms related to tastings. Moreover, some words also allow some flexibility in their use. Likewise, when the word is written, the taster's tone of voice is lost in the spoken word. Tone of voice can shift some terms significantly in a positive or negative direction. At the same time, the intermittent expert use of apparently laudable terms can be a disaster with some wines because they disqualify the wines as being atypical of their type. The words in this small list only partially refer to Champagne.
This area is permanently under construction! The author is happy about any additions (and also criticism!) from the valued visitors (john@champagner.com). In our lexicon you will find additional terms, which are sometimes not closely related to tastings.

Finish

Astringent
A constricting (furry) sensation in the mouth, caused by the high content of tannin in the wine. Not uncommon in young, aggressive, red wines and often considered a positive characteristic. In white wines, on the other hand, this characteristic is considered negative.

Aroma

Alterston

Balanced
A positive description, which is awarded at a tasting to that champagne (or other wine), with which a beautiful, balanced harmony was felt.

Balsamic
This aroma can be reminiscent of resin, oak, fir or even incense, for example. Balsamic is often attributed to the woody range. In general, this is a pleasing characteristic.

Contemplative
Respectful term for the (quite naturally due to age) more discreet bubbles of a worthy champagne.

Bite or biting
A mostly positive note on acidity.

Bitter
A bitter taste that indicates (too) much tannic acid (tannins). Rather rarely found in champagnes and then often evaluated as negative. However, some novices are often mistakenly led to this description, for example with a Brut (minimum dosage) or Brut integral or Ultra Brut (without dosage).

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Flower
The fruity, floral and sometimes spicy fragrance. English: floweriness

Flowery
A pleasant fragrance that may recall the scent of flowers, e.g., chamomile, jasmine, violet, orange, rose, and many others. English: Flowery (i.e. The wine is flowery; The wine has floweriness.

Botrytis

Botrytis clay
The mould Botrytis causes certain aromas in some wines, which remind of mushrooms.

Bouqueté
A wine is considered bouqueté as soon as its bouquet, the collection of its aromas, is a very striking (or even the distinguishing) feature.

Breed
Positive English qualification of a wine. The wine has certain, distinguishing quality characteristics, which confirm its (wine) ancestors. In a sense, it is "well-bred" or "The wine has breed", "The wine is a good breed", or "The wine is well bred". Related to "race, racy, racé".

Character
A positive designation of a wine which remains true to the typical characteristics of its grape variety and/or vintage and/or growing region in the overall impression.

Corsé
A wine full of character with plenty of body, often endowed with a good dash of tannin.

Complet
A round, well-balanced wine that lacks absolutely nothing is complete. A wine does not have to be great to be considered complete.

Creamy
A gentle wine, which, due to its density and low acidity, is perceived as creamy on the palate. With some champagnes, the bubbles on the surface are also qualified as creamy (or not), as the bubbles, due to the body (partly also due to glycerine content) of some champagnes, behave more 'supple' and leisurely.

Délicat
Light, soft, and delicate, but not weak!

Dick
A wine that lacks balance (harmony). Commonly a bit bulky with little body and strikingly much fragrance or bouquet. Neither good nor bad. English: Fat

Doux
Sweet

Thin
A boring wine that lacks body.

Honestly
An uncomplicated wine which has not undergone any special intervention (e.g. special blends) by the winemaker in its production and which, for example, honestly reveals the character of its grape variety without any misunderstandings. French: Franc de goût. English: straightforward, honest, clean and direct.

Oak
A woody aroma, which often betrays the special storage of some champagnes (and other wines) in oak barrels (barriques).

Elegant (Elégant)
A positive description of a wine, which is characterized in the overall impression by balance in the sense of fragrance, taste, finish and neat appearance. Not bulky or heavy.

Earthy
A pleasant aroma that could remind of the scent of a handful of fresh garden soil, for example. It becomes somewhat more complex if the scent tends in the direction of 'mushrooms'. A mildew smell, on the other hand, always indicates a fault (may have been caused by a leaking and/or spoiled cork, for instance).

Etoffé
Spongy French term for a generously flavored wine. The wine has "substance".
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Fat
See "thick"

Firn
See 'age tone'.

Flat
Name for a boring wine. It is neither fruity nor spicy. It seems aromatically disappointingly sparse.

Fresh
Generally a positive term for rather young champagnes and other young wines, which appear pleasantly lively, cool and sparkling in taste and appearance. However, some older champagnes and other wines stubbornly refuse to let the impression of youth and 'freshness' be taken away. French: Fraîcheur.

Fruity
A beautiful characteristic in the aroma and taste of a wine, reminiscent of fruit (apples, pears, bananas, cherries and other fruits). Especially younger wines offer these (primary) aromas.

Fancy
A friendly, uncomplicated wine, which captivates in its overall impression by its 'honesty'.

Ground
A wine which suggests perfect cellar technique.

Large

Hard
A negative term for a wine that has too much tannin. Excessive leaching of the grape skins can cause this 'hardness'. The wine appears somewhat 'angular' in taste. However, such wines can shed this negative taste quality with longer storage.

Herb
The impression 'tart' is often given by (too) much tannin in some wines. Also very low sweetness can cause this impression. Among Champagnes, this term is used for Brut (minimal dosage) or Brut integral or Ultra brut (without any dosage at all). However, this is by no means a negative characteristic of champagnes, as the residual sugar is intentionally kept to a minimum and is also regulated by law.

Wood, Woody, Wood Flavor

Intensive
The term for an aroma that is perceived as penetrating and persistent.

Young
On the one hand, a comment on the actual age of a wine, and on the other hand, a taste characteristic that may well be present in older wines.
Here, it's more about how the wine presents itself. In the sense of 'young' it should seem 'fresh' and 'lively'.

Clear
A positive designation, which emphasizes the (optical) clarity and purity of a wine.
Champagne in particular is characterized by brilliance and a certain sparkle.

Small
A negative term for a wine. A rather boring wine, which is not flawed, but offers the connoisseur very little in terms of aroma, bouquet and taste.
During a tasting, 'small' wines prove to be useful comparisons to their 'bigger brothers' in the tasting environment. On the other hand, small wines are often (not always) inexpensive and are also nice companions to many a meal, as they are rather 'neutral' in their modesty. By the way, there are no 'small' champagnes!

Complex
This refers to a wine whose aromas are diverse. This is also exactly the characteristic which many connoisseurs love. With champagnes, this characteristic is almost the rule. All champagnes are based on selections, often consist of excellent blends, sometimes offer oak barrel storage, complete a complex development with two fermentations, are stored by nature for a long time 'on the yeast'...
Complex aromas are thus fortunately always found in champagnes....

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Cork, cork taste
An olfactory/taste negative observation, which is directly or indirectly attributed to the cork. Rare with champagnes, since the selection of the corks as well as the design (additional cork disks at the foot of the champagne cork) is particularly carefully observed by the houses. Some manufacturers of the corks may have performed insufficient disinfection, which can cause mold to creep in. TCA' (trichloroanisole) then develops in the wine. For the connoisseur, this circumstance then causes a 'musty' (negative!) sensation.
At times, there is also talk about a 'creeping cork', where a connoisseur believes to perceive a slight defect in the cork. Since corks as well as wines are natural products, many connoisseurs ignore a possibly 'creeping cork'. Sometimes, an innocent cork is simply used as a 'scapegoat' for other defects of some wines. The French qualification of a wine as bouchonné (corky) is pejorative or negative.

Body

Sick
A negative term for a wine that strikingly contradicts its usually attributed taste and/or smell.
This can be caused by various circumstances. Champagne in particular 'goes ill' under fluorescent lighting on shelves in department stores, for example, and through improper storage elsewhere. A champagne can also suffer a temperature shock if the host lets it 'float' in a bucket of ice water for too long before or during an event, for example. Sometimes a 'sick' champagne will recover if it is stored properly afterwards. Champagne can also (rarely) become diseased due to a spoilt cork, whereby bacteria and/or mould are introduced and create clearly noticeable faults.

Légèreté
French term for lightness. English: Lightness

Lovely
This generally describes a wine that tends to be low in acidity, mild and sweet.

Maché
French name for a wine which seems so dense that one can almost chew it. It wallpapers the tongue, so to speak. This can be incredibly desirable with some types of wine (but never with champagnes!).

Madérizé
A wine is considered madérizé if it has an oxidized or slightly "rusty" taste (a so-called Madeiraton, which is reminiscent of classic Madeira wines). White wines of this type are often considered to be close to the end, sometimes justifiably even spoiled - but hardly always. Many connoisseurs expect or enjoy nuances of this tone in certain older white wines, because they confirm the dignity of the old gentlemen - especially in old champagnes. See also age tone

Moelleux
A (somewhat spongy) French term for wines that are slightly creamy and somewhat tangy on the palate. For example, some wines from the Loire region are considered moelleux.

Mordant
French term for a full-bodied, forceful wine with acidic bite, pleasantly intrusive on the tongue.

Nerveux
French name for a wine with an intense flavour and no softness.

Scented
This describes a wine that seeks to dominate (unpleasantly) from the scents.

Furry
See astringent.

Phenolic
Describes a harsh, bitter-like taste.

Racy
A distinctly fresh aroma. Also the designation for extraordinarily type-strong wines with strikingly good character. French: Racé. Related to the English term "breed" (see above).

Purebred
An aroma and/or taste which, without deviation, is considered typical of a particular grape variety.

Round
Balanced.

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Clean
Describes a wine that has no (unpleasant) smells or taste strangeness that should not belong to this wine. The wine has basically no faults (also called pure-toned).

Acid, Acidic

Seché
French term for a wine that seems too dry or dried out on the palate.

Sève
French term for a wine that appears pleasantly creamy, almost oily, when drunk (due to glycerine produced during fermentation). The wine appears rounder and can cause the sensation of a slight sweetness.

Sweet
A description for a wine that is perceived as smooth (not too heavy and not too light) and pleasant to drink.

Souplesse
French for suppleness. Closely related to sève (see above). English: suppleness.

Soyeux
French term for a wine that appears silky when consumed (i.e. not edgy coarse and/or bitter). English: silky. For wines with a particularly rich taste, the term velouté (velvety) is also used. English: velvety or smooth as velvet.

Terroir
A certain characteristic of a wine which is attributed to the soil and/or the conditions of a certain area. For example, a wine has 'a lot of terroir' if it is particularly representative in this respect.

Behavior
Term for a young wine that should develop better with a little more ageing. Wines of this type are also sometimes called 'closed'.