Tasting

A tasting is an organoleptic (sensory) test and a judgement based on it

The sensory organs of the eye, nose and tongue are used specifically for this purpose. You not only experience the wine in detail, but also yourself in a certain way, as an unusually intimate dialogue with your own sensory organs is sought. This 'sensory dialogue' can then be expressed in descriptive words. Experts and connoisseurs often communicate with each other using a remarkably differentiated vocabulary of these descriptive words. Even the famous French chemist Jean-Antoine Claude Chaptal (1756 - 1832; inventor of the 'chaptalisation' of a wine, among other things) used more than 60 specific technical terms.

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

Informal tastings are very popular among novices and connoisseurs alike, as they offer the (rather rare) opportunity to sample several champagnes at very favourable prices or even free of charge. In addition, wine knowledge also requires practice and cannot just be acquired 'theoretically'. Tastings offer ideal conditions for this valuable practice!

Tasting several champagnes is particularly appealing, as all champagnes are inherently very good. The judgement of champagnes is ultimately highly subjective, especially as 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 marvellous 'voyages of discovery into the world of champagne' that no one who has the opportunity to attend should miss out on.

Formal tastings, on the other hand, are more elaborate, characterised by rules and reserved exclusively for experts and connoisseurs. The invitation alone is often a great honour. This is not just about subjective, but also (the best possible) objective judgement. Professionals can put their natural, subjective perception to one side when testing a champagne and, thanks to a great deal of experience, memory, trained olfactory acuity and the ability to concentrate, make an almost objective judgement.

A professional may, for example, personally (subjectively) judge a certain champagne to be 'too sweet', but it is not about his/her preference, but about the proper study and assessment of the characteristics of the wine in question. The (rather objective) judgement of a professional regarding 'how sweet' a champagne actually is, for example, can often also be confirmed (objectively) by the results of a chemical analysis. In addition, professionals use certain descriptive words ('wine speech') in their descriptions, which, in their rather objective nature, are considered to be factually sound and generally comprehensible information 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 judgements (e.g. in books, magazines, online publications, etc.), either positively or negatively. Formal tastings are therefore very important and meaningful events with consequences!

Tastings are available in several variations:

A 'horizontal tasting' is often offered with several champagnes of similar genres from different houses. This type of tasting is very interesting, as even champagnes of the same or similar variety (and possibly even of the same vintage) can differ greatly in flavour. Sometimes a 'bomb' is also added, which can be, for example, a fantastic, worthy champagne that simply breaks the mould.

Vertical tastings', on the other hand, focus on 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 cloth. The original corks of the champagnes are also replaced with simple pointed corks.

Stage 1: The eye

In this first phase, the colour, clarity and, in the case of champagne, the play of pearls are also considered. The table is usually covered with a white tablecloth or white placemats so that the contrasting colours can be shown to their best advantage.

The colour of a champagne can reveal a lot:

* A very pale yellow generally indicates a young champagne.

* A straw-yellow colour often indicates a Blanc de Blanc (made purely from Chardonnay grapes). Green reflections here and there are a sign of its youth.

* A pronounced straw-yellow Champagne indicates a Pinot Meunier grape blend.

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

* Old gold generally also indicates a Blanc de Noir. A deep old gold indicates an old, worthy champagne in full maturity (see also old tone and firn in the lexicon).

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

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

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

The clarity and purity of champagnes is a highly desirable characteristic. The glass is raised to allow the light to penetrate the wine. Any cloudiness is 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. Consistency and continuity are observed during ascent: Ideally, the beads should rise in a uniform size, briskly and evenly (weak or inconsistent is not desirable).

The colour of the foam should be snow-white.

The behaviour of the pearls on the surface should also be considered more closely (how and where they form on the surface of the wine - e.g. 'leisurely behaviour' instead of '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 probably the most powerful sensory organ in a tasting. Incidentally, what we generally understand as 'flavour' is usually the additional interpretation of the scents transmitted 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'. A whopping 10 million receptor cells in the nasal cavities, on the other hand, are available to us for the perception of odours.

In order to be able to use these optimally, it is important to let the champagne swirl a little in the glass, then lower the nose into the tulip glass (or tasting glass) and inhale and exhale with concentration (for champagne, shorter and more often rather than longer, so as not to tire the nose). At these moments, certain scents will become noticeable, which may be reminiscent of flowers (violets, roses, etc.), plants (tobacco, hay, etc.), fruit (pears, apples, bananas, etc.), spices (pepper, vanilla, etc.), wood, leather, fresh bread and much more.

In addition, the corresponding grapes in champagne often contribute typical characteristics by nature. For example, Chardonnay grapes often have a floral flavour, Pinot Meunier a spicy flavour and Pinot Noir a fruity flavour.

As champagnes are often blends of several grape varieties, the bouquet can sometimes appear very complex. The age of a champagne can also be recognised in its aroma. An originally fruity aroma 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 overloaded, as this sensory organ naturally switches to 'insensitive' when overloaded. It is therefore important to perceive the first impressions very carefully and then immediately try to mentally link these impressions with descriptive words and make a note of them.

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 skilfully (with thumb and forefinger) by the foot and an appropriate sip (not too big) is taken in the mouth.

At the same time, air should be taken in together with the wine. This type of discreet sipping is perfectly acceptable during a tasting, as this air connection allows the flavours of the wine to unfold. 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' flavours, while the sides of the tongue are responsible for 'salty' and 'acidic' flavours and the base of the tongue for 'bitter' flavours. The simultaneous intake of air is important, as the nose is supplied with additional precious flavours via the retronasal canal in the mouth, which complete the sensation of 'taste'. Champagne also emphasises the slight tingling of the bubbles on the palate.

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

At informal tastings, the champagne is often swallowed afterwards to check the 'finish'. At formal tastings, the sip is usually spit into a suitable container after being analysed.

Evaluating the sensations in the mouth is not easy, even for professionals, as the sensations of 'sweet' and 'sour' also influence each other. The same applies to the sensation of 'salty', which in turn emphasises 'sweet'. The motto is to concentrate as much as possible on these specific zones and try to analyse them separately. However, even with a lot of practice and patience, this is not always possible.

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

Rating systems

There are several formal evaluation systems for tastings.

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

* In the USA as well as in parts of Europe, the more differentiated '100-point system' is popular. This system is extremely precise and strict in terms of detail.

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

A small tasting and rating list

There are hundreds of descriptive words and terms related to tasting. In addition, some words also allow a certain flexibility in their use. Similarly, the tone of voice of the taster is lost when the written word is spoken. The tone of voice can clearly shift some terms in a positive or negative direction. At the same time, the temporary expert use of apparently laudable terms can be a disaster for some wines because they disqualify the wines as atypical for their type. The words in this small list only partly refer to Champagne.
This section is constantly under construction! The author welcomes any additions (and criticism!) from our valued visitors. In our lexicon you will find additional terms, some of which are not closely related to tastings.

Departure

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 regarded as a positive characteristic. In white wines, on the other hand, this characteristic is categorised as negative.

Flavour

Age tone

Balanced
A positive description, which is awarded at the end of a tasting to a champagne (or other wine) that is perceived as having a beautiful, balanced harmony of flavour.

Balsamic
This flavour can be reminiscent of resin, oak, fir or even incense. Balsamic is often attributed to the woody area. This is generally a pleasing characteristic.

Contemplative
Respectful term for the more discreet bubbles (naturally caused by age) of a worthy champagne.

Bite or biting
A mostly positive note on acidity.

Bitter
A bitter flavour that indicates (too) much tannic acid (tannins). Rarely found in Champagnes and then often considered negative. However, some novices are often mistakenly misled into describing a Brut (minimal dosage) or Brut integral or Ultra Brut (without dosage), for example.

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

Flowery
A pleasant fragrance that can be reminiscent of the scent of flowers such as camomile, jasmine, violet, orange, roses and many more. English: Flowery (i.e. The wine is flowery; The wine has floweriness.

Botrytis

Botrytis tone
The Botrytis mould causes certain aromas in some wines that are reminiscent 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) characteristic.

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

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

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

Complete
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 smooth 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 categorised as creamy (or not), as the bubbles behave more 'smoothly' and leisurely due to the body (sometimes also due to the glycerine content) of some champagnes.

Délicat
Light, soft and delicate, but not weak!

Thick
A wine that lacks balance (harmony). Generally somewhat powerful with little body and a conspicuous amount of flavour or bouquet. Neither good nor bad. English: Fat

Doux
Sweet

Thin
A boring wine that lacks body.

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

Oak
A woody flavour that often reveals the special ageing of some champagnes (and other wines) in oak barrels (barriques).

Elegant (Elégant)
A positive description of a wine that is characterised by an overall impression of balance in terms of aroma, flavour, finish and neat appearance. Not bulky or heavy.

Earthy
A pleasant aroma that could be reminiscent of the scent of a handful of fresh garden soil, for example. It becomes somewhat more complex if the odour tends towards 'mushrooms'. A mouldy smell, on the other hand, always indicates a fault (may have been caused by a leaking and/or spoilt cork, for example).

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

Firn
See 'Alterton'.

Flat
Designation for a boring wine. It is neither fruity nor flavoursome. Its flavour is disappointingly sparse.

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

Fruity
A beautiful characteristic in the aroma and flavour of a wine that is reminiscent of fruit (apples, pears, bananas, cherries and other fruits). Younger wines in particular offer these (primary) flavours.

Pleasing
A friendly, uncomplicated wine whose overall impression is one of 'honesty'.

Ground
A wine that 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 has a somewhat 'angular' flavour. However, such wines can lose this negative flavour quality with longer storage.

Herb
The impression of 'tart' is often conveyed by (too) much tannin in some wines. Very low sweetness can also give this impression. Among champagnes, this term is used for brut (minimal dosage) or brut integral or ultra brut (completely without dosage). However, this is by no means a negative characteristic of champagnes, as the residual sugar is deliberately kept to a minimum and is also regulated by law.

Wood, woody, wood flavour

Intensive
The term for a flavour 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, a flavour characteristic that can also be present in older wines.
This is more about how the wine presents itself. In the sense of 'young', it should appear 'fresh' and 'lively'.

Clear
A positive term that emphasises the (optical) clarity and purity of a wine.
Champagnes in particular are characterised by their brilliance and a certain sparkle.

Small
A negative term for a wine. A rather boring wine that is not flawed, but offers the connoisseur very little in terms of aroma, bouquet and flavour.
At 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 also make nice accompaniments 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 flavours are diverse. This is precisely the characteristic that many connoisseurs love. With champagnes, this characteristic is almost the rule. All champagnes are based on selections, often consist of excellent blends, are sometimes aged in oak barrels, undergo a complex development with two fermentations, are stored 'on the lees' for a long time...
Fortunately, complex flavours are therefore always to be found in champagnes.

Cork, cork flavour
A negative finding in terms of odour/taste, which is directly or indirectly attributed to the cork. Rare in the case of champagnes, as the selection of corks and the design (additional cork discs at the base of the champagne cork) are particularly carefully considered by the houses. Some cork producers may have carried out insufficient disinfection, allowing mould to creep in. The wine then develops 'TCA' (trichloroanisole). For the connoisseur, this causes a 'mouldy' (negative!) sensation.
At times, there is also talk of a 'creeping cork', whereby a connoisseur believes to perceive a slight defect in the cork. As corks, like wines, are a natural product, many connoisseurs overlook a possible 'creeping cork'. Sometimes an innocent cork is simply used as a 'scapegoat' for other defects in some wines. The French characterisation of a wine as bouchonné (corked) is pejorative or negative.

Body

Sick
A negative term for a wine that is conspicuously inconsistent with the flavour and/or aroma usually attributed to it.
This can be caused by various circumstances. Champagnes in particular can become 'diseased' under fluorescent lighting on shelves in department stores and due to other improper storage. A champagne can also suffer a temperature shock if the host leaves it 'swimming' in a bucket of ice water for too long before or during an event, for example. Sometimes a 'sick' champagne will recover if stored properly afterwards. Champagne can also (rarely) become diseased due to a spoilt cork, whereby bacteria and/or mould are introduced and cause clearly noticeable defects.

Légèreté
French term for lightness. English: Lightness

Lovely
This generally describes a wine that is rather low in acidity, mild and sweetish.

Maché
French name for a wine that is so dense that you can almost chew it. It coats the tongue, so to speak. This can be extremely desirable with some types of wine (but never with champagnes!).

Madérizé
A wine is considered madérizé if it has an oxidised or slightly "rusty" taste (a so-called Madeira tone, which is reminiscent of classic Madeira wines). White wines of this type are often considered to be close to the end, sometimes even justifiably spoilt - 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 masters - especially in old champagnes. See also age tone

Moelleux
A (somewhat vague) 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 name for a full-bodied, powerful wine with an acidic bite, pleasantly intrusive on the tongue.

Nerveux
French name for an intensely flavoured wine that has no softness whatsoever.

Perfumed
This describes a wine that seeks to dominate (unpleasantly) with its aromas.

Furry

Phenolic
Describes a harsh, bitter flavour.

Racy
A distinctly fresh flavour. It is also the name for exceptionally type-affirming wines with an exceptionally good character. French: Racé. Related to the English term "breed" (see above).

Pure tone
An aroma and/or flavour that is considered typical of a particular grape variety without deviation.

Round
Balanced.

Clean
Describes a wine that has no (unpleasant) odours or foreign flavours that should not belong to this wine. The wine basically has no faults (also referred to as pure).

Acid, acidic

Seché
French term for a wine that is too dry or dehydrated on the palate.

Sève
French term for a wine that has a pleasantly creamy, almost oily flavour (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 when savoured.

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

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

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

Behaviour
Designation for a young wine that should develop better with a little more ageing. Wines of this type are also sometimes referred to as 'closed'.

 

 

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