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Sense of Sound… and Champagne
By Rajiv Singhal. The symphony of bubbles and the popping of a cork are sounds that I so closely relate to Champagne. In the company of seven laureates of the prestigious Concours des Ambassadeurs du Champagne at the new chic and uber luxury Rosewood London, I was "blown away". My moleskine was witness to the collateral damage of the different sounds on my tasting notes. |
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Rajiv Singhal (Champagne Bureau, India), Francoise Peretti (Champagne Bureau, UK), Tim Hall (2013), Carol Whitehead (2006), Laura Clay (2010), Edwin Dublin (2011), Anthony Stockbridge (2005), Nancy Gilchrist MW (2012), Marie-Pascale Do Dinh Ty (Comité Champagne), Tom Forrest (2007) |
| Professor Barry Smith, the founder of The Centre for the Study of the Senses in London, led this special Masterclass hosted by Françoise Peretti of the Champagne Bureau UK, to present a new sensory dimension – sound – to the way Champagne is tasted. Giving the example of how a ripe epoisse cheese (which smells like a teenagers' running shoe) can give so much pleasure, Barry reminded us how prediction can be so different from the actual outcome. |
| He told us how different receptors help us aggregate a sense of flavour from the individual elements of taste, touch and smell. And how some external elements can actually influence flavour – low temperature brings out bitterness in coffee; strawberry mousse on a white plate tastes sweeter than the same served on a black plate; more viscosity increases the perceived sweetness; and different individuals perceive the same flavours differently. |
| In preparation for the tasting of the line up for the Masterclass, that included the five different styles of Champagne (Non-Vintage, Vintage, Zero-Dosage, Blanc de Blancs and Blanc de Noirs), Barry shared that sound gives the brain certain expectations. For example, the high pitch sound of our own crunching can make stale potato chips fresher; the constant din on a flight significantly reduces our ability to distinguish salt, sweet and bitter; and the sound of pouring Champagne prepares us to expect something special. |
| The Larmandier-Bernier Longitude Extra Brut is a blanc de blancs package of fresh flower aromas and minerality. Barry played Mozart's Quartet No. 1 in D Major and it appeared as if the champagne had become more creamier. Laurent Perrier's Ultra Brut is in its pure natural form, with no dosage. Citrus nose and freshness with a very delicate finish. As Rybycon (Tangerine Dream) was played the champagne opened up and kept increasing on the palate. |
| Mailly Grand Cru Brut Reserve is fruit forward and toasty brioche. Mountain Wind (Eagle) brought out sharper acidity while Sure Thing (St Germain) shortened the length. Bruno Paillard's Première Cuvée is bold and earthy with rich buttery texture. It got more length with Take Five (Dave Brubeck) and became shorter and more angular with This Lamb Sells Condos (Final Fantasy). I actually enjoyed my glass without the music, the most. |
| I was convinced that Barry was a magician, who was not playing music but getting an army of goblins to change the glasses while he engaged us. Because No Rest for the Wicked (Cervantine) lent oxidative notes and made the Bollinger La Grande Année 2004 more unbalanced while Lums O'Lund (Catriona Mackay) made it easy. |
| Michelin-starred Chef Bjorn van der Horst of the Rosewood laid out a very thoughtfully planned three course Champagne paired lunch and connected sound to food texture – crunchy roasted prawns, crackling pop corn and velvety strawberries. "I put my thinking cap on and played with food textures that are loosely connected to sound". |
| It was an invitation that needed one to bring an open mind and be willing to experiment. A novel approach, and very thought provoking. |
| Rajiv Singhal was in London, and agreed to forego an afternoon of vacation time to join this incredible learning experience. Bouquets or brickbats, please let us know what you think and do tell us where vino india could improve. Email us at info@vinoindia.in |
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