A tasting note is an impression frozen in time. It is fleeting and ephemeral. It is one person’s opinion at one particular moment. It is a one-night stand.
It is not an objective assessment of the wine’s past, present and future. It is not Holy Writ. It is not a communal judgment, and does not represent some Zagat-like conventional wisdom. It is not a poll. It is not “wrong.” It is not a personal attack, or indeed to be interpreted personally in any fashion whatsoever.
It may or may not be an invitation to dialogue. The note itself may be all the dialogue its author intends. Alternatively, the note may instead represent the author’s dialogue with the wine. It may or may not be reflective of an overarching philosophy. Sometimes, a note is just a note. It may or may not be consistent with previous notes. Wine, despite the best attempts to industrialize it, remains a variable and living product.
What is a good tasting note?
If it pleases the author, it’s a good note. Nothing is more destructive to the purpose of tasting notes than the demands of others; neither descriptors, nor data, nor formatting, nor points and other qualitative shortcuts should be imposed upon the author from outside.
Notes may be structural, as exemplified by the methods taught to candidates for the Master of Wine examination, wherein the components of wine are systematically broken down to aid in analysis and identification. Notes may be organoleptically iterative, in the manner of modern North American wine writing – “laundry lists” of fruits, vegetables, flowers, rocks, etc. – or they may be as austere and ungenerous as the wine they describe. Notes may be metaphorical, comparing the experience of the wine to just about anything in the realm of experience, including anthropomorphism. Notes may be fanciful, reflecting the joy inherent in the beverage. Notes may be contextual, comparing one experience to another or giving the wine an active role in a real world narrative. Notes may be educational or informative, carrying the weight of experience and the power of data collection with every word. Notes may be a ranking and a justification thereof.
Indeed, notes may be all, any, or none of these things, and will still find their audience. What an audient should not do is insist that all critics compose notes to their preference. Critics are – usually – not prostitutes. On the other hand, requests, sensibly justified, are acceptable. (Similarly, critics should not insist that all winemakers create wines to their preference, but it is acceptable to express those preferences in the context of criticism when those preferences are supported by reasoned discourse.)
What is a useful tasting note?
A useful tasting note answers three questions:
- What is the wine?
- What are the critic’s impressions of the wine?
- What are the reader’s likely impressions of the wine?
1 requires that proper notation be observed. There are many paths to correctness, but undue abbreviation is not one of them. 2 has already been covered herein. 3 requires communicative skill on the part of the critic. Around this point revolves the fundamental different between a good note and a useful note; the former is free to ignore the consumer, the latter must not forget the consumer.
At times I attempt to compose good notes, and at times I attempt to compose useful notes. Sometimes, I attempt and achieve both, but I do not always make that attempt, and do not always achieve that goal. Sometimes, I fail in every manner possible. When forced to make a choice, I choose good over useful. Accuracy, however, is a must, and I will go to certain lengths to assure it; corrections are always welcome.
Pingback: No filter, no cry – hammered