CODEX CODEX - S.Pellegrino

Transcription

Water
S.PELLEGRINO & ACQUA PANNA
C
CO
OD
D EE X
X
The art of mineral water
and its perfect harmonization with wine
Water
THE S.PELLEGRINO & ACQUA PANNA
C
CO
OD
D EE X
X
The art of tasting mineral water
and its perfect harmonization with wine
I N T RO D U C T I O N
I
should first admit that
wine has always been
one of my passions, and I have
served it widely and spoken
about it on countless occasions.
Consequently, I’d never have
imagined that one day I would be
asked to introduce a book on
mineral water!
Invited to write these few lines,
however, to my surprise I soon
realised that water has effectively
always been a quiet and
unassuming presence
accompanying my every meal,
and because I always took if for
granted, I never once gave it a
thought. It was therefore a
welcome revelation upon reading
the fascinating account by the
two authors of this book, told for
the first time ever, that water too
has a distinct personality of its
own.
It is therefore with the utmost
pleasure that I recommend this
book to all gastronomers and
lovers of fine food, so that, like
myself, they might discover the
characteristics of water, that
infinitely generous and excellent
gastronomic companion to every
meal.
Kostas Touloumtzis
Chairman of the Association de la
Sommellerie Internationale
NOTE FROM
THE AUTHORS
R
ather than dealing with
water itself, this book
aims to respond to a number of
questions: “If water has a flavor,
how can we perceive this? Once the
organoleptic properties of this
precious product have been
determined, what do we do with
them? Can we use this knowledge
to improve the quality and service
in our restaurant? What’s more,
how can we convey this
information to our guests?”
Actually, these are the topics
explored by this publication,
which was completed after
numerous meetings and lively
discussions among all those who
took part in its creation. It is far
from an easy topic. The approach
used for its organization was
complex but perhaps, with a
touch of pride, we can say that
we’ve succeeded.
One of the objectives we set for
ourselves in preparing the “Water
Codex” was to create a common
language for everyone, operators
in the sector and non, who wish
to explore this topic in order to
generate and facilitate a flow of
information.
The book was structured so that
it can be used both by readers
who wish to learn only the
essentials and those who wish to
explore the topic in depth and
want to use the information it
contains to conduct informative
sessions, for example, ones
dedicated to water tastings or to
matching water with wine.
Finally, we have taken the
liberty of providing suggestions
on how to offer, present and serve
water. This is the first beverage to
be served and the last one to be
removed from the table. All
around the world, it is the only
one that both “welcomes” dinner
guests and says “farewell” at the
end of a meal.
Arising from the topics covered
in the “Water Codex” will come
further eno-gastronomical
questions, which will be
followed up in due time.
Meanwhile, we hope that we
have succeeded in allowing you
to drift along a gentle river of
clear, limpid water just waiting
to be appreciated, tasted and
matched.
Claudia Mor iondo
Doctorate in food preparation science
Giuseppe Vaccar ini
Director of the Association de la
Sommellerie Internationale
INDEX
■
All about mineral water
9
The opinion of
eleven experts
53
Markus del Monego
55
Mark Friederich
69
Cleaning the glasses
29
31
Serge Dubs
57
Giuseppe Vaccarini
71
13
Tasting technique
35
Evan Lambert
59
Hector Vergara
73
Acqua Panna
Geology and composition
Daniela Kramaric
61
Cèzar Canovas
75
17
Use of the water
tasting scorecard
39
Kálmán Kozma
63
Conservation of water
21
Tasting S.Pellegrino
41
The sensations of food
77
Water Service
23
Tasting Acqua Panna
43
■
A geological history of the world
A historical overview
9
What exactly is mineral water?
10
S.Pellegrino
Geology and composition
The water tasting
27
■
Why conduct a water tasting 27
Tasting tools
■
Harmonizing Water & Wine 45
Harmonizing:
rules and exceptions
47
Water & Wine
harmonization chart
51
■
Philippe Faure-Brac
65
Nikos Loukakis
67
A L L A B O U T M I N E R A L WAT E R
A geological histor y of the world
A historical overview
T
he term ‘mineral water’
applies to water that
originates in certain distinct
geological conditions – in many
cases these are authentic natural
phenomena, such as thermal springs
or springwater that has an unusually
high level of natural effervescence.
Owing to their special properties,
even in distant times mineral waters
were largely used for bathing and
immersion. The ancient Greeks were
well aware of the curative properties
of mineral water (described by
Hippocrates, physician and ‘father of
medicine’), and often made use of
them in their religious or
propitiatory rites. In the times of the
Roman Empire, thermal baths were
vital social gathering points, where
citizens would practise immersions
and drink the health-giving waters.
As the Empire declined, so did the
popularity of thermal spas, but the
interest in ‘taking the waters’ for
therapeutic purposes survived. The
growing interest in the effective
curative properties of mineral water
prompted the first hydrological
studies in the thirteenth century,
starting with those made by such
scientists and physicians as Pietro
d’Albano, Michele Savonarola,
Pietro da Eboli, Gentile da Foligno,
Pietro da Tossignano, Tura di
Castello, Falloppio, Ugolino da
Montecatini (the author of the
Tractatus de Balneis), Andrea Bacci
(the author of another treatise
entitled De Thermis). Subsequently,
public interest in thermal spas for
therapeutic ends enjoyed a steady
renascence, and from the mid-1800s
through to the next century, certain
thermal baths achieved a fame and
reputation almost on a par with
their ancient Roman counterparts.
In this period the therapeutic aspects
(albeit reserved for the aristocracy
and well-heeled citizens) were
increasingly associated with a
broader culture of health and
physical well-being. In the aftermath
of the two world wars, the more
renowned and fashionable thermal
spas steadily fell into decline, but the
mineral waters themselves became a
widespread commodity, their
curative properties no longer bound
to the spas and watering places of
yore. Eventually, the rising demand
for a broader spectrum of types of
mineral water on the part of an
increasingly discerning public
prompted a veritable boom in the
mineral water industry, resulting in
an unprecedented range of labels,
each one with quite distinct
chemical and physical properties.
Carlo C. Galli
Water Resources Manager - Sanpellegrino SpA
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9
ALL ABOUT
M I N E R A L WAT E R
A geological histor y of the world
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10
The term ‘mineral water’ is
applied to natural water
originating in an underground
water table or deposit and
emerging from a spring tapped at
one or more natural or bore exits
that may have qualities
favourable to the health.
The source of water is closely
dependant on the entire watercycle, which may be described as
having three basic phases.
The first is the infiltration of
rainwater through the subsoil
(known as ‘recharge’), during
which the water from rainfall or
melting snow migrates
underground through the
primary porosity of the deposits
(the pores in a granular matrix),
faults and fractures in the
bedrock. In the second phase the
water gravitates down to the
‘reservoir rock’ (the aquifers
themselves).
Aquifers come in a variety of
types, but basically fall into one
of two categories:
1) groundwater aquifers in which
water flows freely in the
saturated subsoil layer;
2) artesian aquifers, by which the
water is under pressure due to
the specific context where the
aquifer is located, sandwiched
between two impervious layers;
the set-up is analogous to the
high-pressure conduit that carries
water from a hydroelectric damn
to the turbines.
While it moves or lies contained
in the subsoil, the water’s
physical and chemical properties
alter, and these changes
determine its final composition.
First and foremost, it acquires
minerals dissolved from the
rocks, its temperature changes,
and likewise the quantity of
dissolved gases. The saline
content depends largely on the
chemical action of the ‘mother’
rock, a factor governing the
eventual properties of all types of
mineral water. On the basis of
the total dissolved solids (mineral
content) the classification of
mineral water can be done in
three separate categories:
■
■
■
minimally mineralised (fixed
residue up to 50 mg/l)
low-mineral content (fixed
residue up to 500 mg/l)
mineral-rich (fixed residue over
500 mg/l)
Water in the first category is
frequently found in mountain
locations where the transition
through the subsoil is swift (one
year or more). A shorter duration
spent in the aquifers often
connected with the host rock’s
low solubility (metamorphic rock
and/or plutonic rock types rich
in low-soluble minerals, such as
quartz), produces a very low
mineralisation level in this type
of water. At the opposite end of
the spectrum we have water that
has effected a much deeper
circuit, with several decades of
permanence in the aquifer, often
characterised by surface outlets
with unusual temperatures as
proof of its circulation in far
deeper level underground. This
type of water has a notably high
saline content, and its genesis is
linked to volcanic activity, or to
the dissolution of highly soluble
rocks, such as evaporitic
sediment (chalks, potassic salts,
etc.).
The methods of extracting
mineral water from the ground
vary greatly, according to the
type of aquifer that requires
tapping. Natural springs are
harnessed via simple catchment
systems. Among the more
common catchments are the
collection boxes (catch pits),
drainage tunnels and trenches
and sub-horizontal boreholes
drilled near the natural water
outlets that increase the flow-rate
while also provide greater
protection for the water source
itself. In many other cases the
mineral water lies far deeper
underground, and wells are
bored to channel it up to the
surface.
What exactly is mineral water?
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11
S .PELLEGRINO
GEOLOGY AND COMPOSITION
Carlo C. Galli
Pellegrino’s
internationally renowned
mineral water issues naturally from
an artesian-type source (that is,
rising from the aquifer of its own
accord) situated on the right bank
of the Brembana Valley, in the town
of San Pellegrino Terme in the
province of Bergamo. The spot was
known even in ancient times for its
health-giving water, and the
S.Pellegrino spring has recently
become the object of intensive
geological and hydrological studies
which included a geophysical
investigation into the depths of the
subsoil, and a series of detailed
isotopic tests to establish the entire
course of the water’s long
underground transition from the
catchment area to the collection
point at the fount itself.
These extensive geological studies of
the subsoil, together with the
selected chemical and isotopic
analyses of the water, have resulted
in a detailed picture of the
hydrogeological factors involved in
the genesis and path the water takes
before it emerges at the spring in
San Pellegrino Terme.
The catchment area – meaning that
area of land that effectively receives
the rainfall – lies between 1,200 and
1,300 metres above sea-level (as
established through the isotopic
analysis of the dissolved oxygen)
that corresponds to an extensive
uninhabited stretch of the
Dolomites (this type of rock belongs
to the geological formation of
S.
WC
13
S .PELLEGRINO
San Pellegrino Terme - Casino
earth the water comes into contact
with evaporitic rocks and
encounters a second hurdle in its
path, posed by a vertical geological
fault where the Dolomia Principale
(the aforementioned ‘reservoir rock’,
or aquifer) meets with a stratum of
impermeable clayey deposits (the
so called “Riva di Solto
Claystones”). The deep horizontal
flow has its own hydraulic gradient
(artesian pressure), and is therefore
forced upward through this fissure
where the two types of rock meet,
finding its release in the
S.Pellegrino spring itself.
Owing to the type of rocks in
contact with the aquifer, and to
the water’s long presence
underground (according to
isotopic tests on the tritium
content, the water takes an
estimated 30 years to transit from
the catchment area to the spring),
the chemical and physical
properties of S.Pellegrino water are
characterised by a unique and
stable mineralogical formula (from
a chemical viewpoint, the water is
in the bicarbonate-sulphate-calcic
category), given the inertia of the
entire hydrogeological system.
Dolomia Principale, a Triassic stone
type very diffuse in the southern
Alps). From the catchment area, the
water works its way downward
through the fissures and gaps in the
karstic Dolomitic rock for several
hundred metres, until it encounters
its first obstacle in the impermeable
shelf of chalk deposits. At this point
the downward (gravity-based) flow
changes to a slower horizontal
motion (across an impermeable
layer), during which it begins to
acquire its organoleptic and
physiochemical properties: the
dissolving of the evaporitic rock
layer largely composed of calcium
sulphate imbues the water with
strong geochemical qualities, while
the greater circulation depth causes
a rise in temperature in geothermal
gradients. At the last stage,
S.Pellegrino water reaches a
temperature of 26ºC, whereas the
average temperature of groundwater
at that level (370 m below sea-level)
is between 11 and 12ºC. This
difference in temperature (the heat
resulting from the geothermal
gradient) is around 15ºC;
considering an average gradient of
3ºC every 100 metres, this indicates
a depth of 500 metres below the
level of the spring at the surface.
During its long journey inside the
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15
A C Q U A PA N N A
Carlo C. Galli
he Acqua Panna
concession area is located
in Italy’s region of Tuscany, in the
municipalities of Scarperia and
Barberino di Mugello (Florence).
Acqua Panna is a part of an aquifer
located on the main watershed’s
south flank in the local northern
Apennine mountain belt section,
between the Futa Pass and
Mount Gazzaro. The sources are
found at an altitude of around 900
meters above sea level.
The bottling plant is located in the
lower southern part of the
concession area, at about 550
meters above sea level, and the
water is piped in from the sources
through stainless steel pipelines.
The geology of the area can be
outlined as follows:
■
■
The spring water concession is 720
hectares wide and is fully owned by
the company, which allows for the
preservation of the countryside’s
unspoiled nature. The environment
is a typical mountain area covered
with a thick forest and crossed by
streams.
■
Detritic and weathered soils at
the ground surface
(Quaternary).
Oligocene layered coarse
sandstone in the Tuscan section.
Clays in the Ligurian section,
impermeable layers located
below the sandstone and also in
lateral contact in the
southernmost portion of the
concession.
During the geological history of
the Apennines, these formations
(with the exception of the
Quaternary soils) were involved in
several geologic events through
which the strata were shifted and
reshaped with folds, major faults
and fractures.
The Quaternary deposits are made
of weathered silty and clayey soils.
The thickness of these
impermeable soils and the bedrock
T
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17
A C Q U A PA N N A
Acqua Panna circulates within the
fractured aquifer made of
Oligocene sandstone. It is a typical
coarse quartz-feldspar sandstone
interbedded by marl and clayey
layers. The total thickness of this
underground aquifer is several
hundred meters.
All sources located within the
concession area are the expression
of a unique hydrogeological basin,
where the groundwater circulates
only in the sandstone formation.
The geological boundaries of the
sandstone aquifer are constituted
by the impervious clayey
formations of the Ligurian sections.
The groundwater circulates in the
sandstone complex in a
northwest/southeast direction until
it meets the Ligurian sections and
is forced to rise up to the surface
(through natural springs) or it
flows into hydrogeological traps
where it is reached by means of
vertical water wells and then
pumped up to the surface.
Villa Panna
The sources’ hydrogeological
recharge area is constituted by the
Apennine watershed area, from
Mount Gazzaro to far behind the
Futa Pass, reaching out northwest
to southeast for a total length of
over eight kilometers.
Natural isotope research has shown
that Acqua Panna needs around
10-15 years to flow through the
aquifer and reach the surface at the
source area.
The chemical composition clearly
shows the uniqueness of the
hydrogeological basin of the
sources used for bottling Acqua
Panna. No change in the main
chemical parameters of the water
occurs during heavy rains, which
means that the aquifer is fully
protected from the infiltration of
surface water at its depth.
Acqua Panna has a moderate
dissolved salt content, with a very
well-balanced chemical composition
that is distinctive thanks to the
presence of small quantities of nearly
all the major chemical elements, such
as calcium, magnesium and silica.
above the groundwater aquifer is
around 100 meters or more. They
protect the deep water strata from
any local surface infiltration.
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19
C O N S E RVAT I O N
O F WAT E R
eing absolutely
colourless and having
the faintest of aromas and barely
noticeable taste, water is an
extremely delicate product, and
the presence of any foreign
substance can alter its
organoleptic properties.
Before reaching the table, water
bottles are constantly submitted
to all kinds of environmental
stress, such as knocks, changes in
temperature, alternating light and
darkness, and exposure to the
ultraviolet light from the sun – all
phenomena that could alter the
organoleptic sensations of the
product, which cannot be seen by
the naked eye but which in some
cases bring about a distinct
change in the taste.
The best possible storage for
bottles of mineral water is in a
clean, cool, well-ventilated place,
away from the sunlight, and from
smoke and fumes, or whatever
other substances that might
impregnate the water with their
odour.
These conditions serve to keep
the water with the same
properties it had at the time of
bottling, and must be observed
throughout the water’s transit
from the bottling plant and
during its transportation to the
point of sale, and thence to the
customer. More often than not,
bottles of water are left standing
in inappropriate places for
considerable time, as people
mistakenly believe that no
alteration to the contents will take
place. Instead it is worth starting
straight away to provide the best
conditions of storage so that the
product’s qualities are conserved.
Mineral waters are eminently safe
products and are constantly
subjected to controls at the
source; however, as with food
products, it is advisable to check
the use-by date, and also to avoid
stocking up large quantities that
will not be consumed in
reasonable time.
Once the bottles reach the storing
place they should be left in their
cartons, or placed vertically on
shelves.
In this way broken bottles can be
removed, and the labels remain
intact. Bottles stored thus should
be occasionally dusted, and
attention given to their rotation
on the shelves, so that the earlier
purchases are kept to the front
and new stock put at the rear.
To sum up, in order to reach the
dining table in perfect condition,
water should be treated with the
same care and attention accorded
to any other food product.
B
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21
WAT E R S E RV I C E
n restaurateurs’
technical jargon,
“service” is used to designate all
phases that make a client’s stay at
the restaurant efficient, seamless
and enjoyable. Service, therefore,
does not consist only of presenting
guests with beverages and food,
but includes an entire series of
tasks that must be performed
before they arrive and after they
have left the restaurant. Every
detail of water service must
therefore be done with great
attention and care.
During the purchasing phase, the
restaurateur should not buy
mineral water simply by
indicating the number of cases of
still and sparkling bottles. He
should also consider, determine
Restaurant Chatulle - Milano
and foresee how many bottles per
type and per brand are needed
after having carefully assessed the
menu and thought of the correct
food-wine-water matching.
A few hours before opening the
restaurant, and in any case before
each service, it is necessary to
ensure that an adequate number
of bottles of still and sparkling
water are perfectly intact and
clean, discarding those whose
labels are damaged or missing, and
using a damp cloth to carefully
clean those that are spotted, dusty
or smudged. The bottles are then
placed in appropriate refrigerated
areas so that they can reach the
proper serving temperature (810°C for S.Pellegrino and 1012°C for Acqua Panna).
I
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23
WAT E R S E RV I C E
WC
24
serving water an easier task.
Both glasses, which have been
inspected for perfect cleanliness,
should be on the table, turned
upright, when the client arrives.
Remember that water glasses
should remain at the clients’
disposal until they have left the
table. One of these two glasses
may be removed only in the
event that a guest makes the
clear, specific request to have
only one of the two kinds of
water for the entire duration of
the meal.
As soon as the clients have been
seated at the table, it is best to
offer them water, asking which
brand and which type they prefer
to quench their thirsts or whet
their appetites while they are
selecting their food and wine.
Only at a later point will the
rules of harmonization, as
explained previously, be applied.
While pouring the water, precise
instructions should be followed.
The water should be presented in
the original glass container and
not decanted into a carafe, as this
would lead it to lose some of its
organoleptic properties. In
addition, the clients should know
what product they are
consuming and also be allowed
to read the label. As is true for a
bottle of wine, when taken to the
table a bottle of mineral water is
to be “presented” and its
organoleptic properties are to be
described briefly. The bottle
should then be opened in the
presence of the client, with care
being taken not to damage the
bottle neck. The cap is to be
placed on a small dish so as to
allow for later recapping of the
bottle, if required.
To pour water, the bottle is held
by its lower section, ensuring
that the label remains perfectly
visible to the client. The guest’s
Things that should never be added to mineral water
If the need arises to chill water rapidly, place the bottle in a chiller or in
the freezer for a few minutes. However, never serve ice in a glass of
water. Adding ice strongly alters the flavor of the water, creating a
mixture of two waters with completely different natures.
Also avoid adding lemon juice or lemon slices, although many believe
this to be offering water that better quenches the thirst. Water is the
most thirst-quenching product that nature has to offer, and the addition
of other substances changes its intrinsic characteristics and properties.
Finally, avoid adding still water to sparkling water or vice versa, as you
would likely end up ruining two prodigies of nature in one feel swoop.
glass should be filled a single
time, around 2/3 of the way up.
Serving is done preferably on the
client’s right. Empty bottles are
to be promptly replaced. If it is
necessary to keep the bottle
chilled, use a chiller.
One final recommendation:
when a guest comes to the
restaurant for the first time, do
not delve too far into possible
matchings and the characteristics
of the water you are offering
unless the client himself requests
this. Generally, clients are already
on the spot about which wine to
select. Guide the client and
direct him in the selection of the
mineral water with discretion,
ensuring that he perceives the
different organoleptic properties
in the two products as well as the
pleasantness of the various
matchings.
Among the preliminary service
phases are the mise en place, that
is the accurate setting of the
table, which requires great
attention and precision. Two
different water glasses may be
used, one for still and the other
for sparkling water. These are
placed in the upper central
section of the setting, above the
place card or above the napkin,
somewhat separated from the
wine glasses. Moving from right
to left, first we position the one
for still water and then the one
for sparkling water. Arranging
the glasses in this manner makes
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25
W
ater, H2O, is a simple
product. All of us are
familiar with its formula as well
as, in some cases, its molecular
structure and the type of bonds
that allow it to be a liquid. Yet
this simple product acquires
different and particularly complex
characteristics and attributes when
enriched with minerals as it moves
through terrains with different
compositions.
Water accompanies us throughout
our lives and it is indispensable
that we drink a certain amount of
it every day. These are the
fundamental reasons why we
“gobble it” on a daily basis with
such indifference. Actually, people
don’t really know this product;
instead, they use it and get all they
can from it.
Loving and appreciating water
means completely forgetting its
function as a hydrating beverage
of everyday consumption. It
means seeing it as a refined
beverage whose organoleptic
properties are remarkably
interesting and appealing. When
one succeeds in recognizing the
organoleptic properties of a water,
one does not drink it only to
quench one’s thirst, but also to
appreciate its flavor and aromas.
Thus, one changes from
inattentive consumer to refined
enthusiast. Little by little, one’s
understanding of water grows, just
as one’s epicurean pleasure in
consuming it increases.
To become enthusiasts and, at a
later time, skilled tasters, the path
to be followed is quite brief.
Although it does present some
obstacles, these are easily
overcome. Most of all, it is
indispensable to learn to
understand what the sense organs
convey to the brain and to learn
some basic notions that allow us
to describe the sensations
experienced to others.
Performing a water tasting means
conducting a rational and
conscious investigation without
any preconceptions. It means
committing all of the senses at our
disposal to classifying its merits
and flaws through systematic
analysis. In conducting such an
analysis, the taster must be
objective and without bias. He
must concentrate on expressing an
assessment that is coherent and
impartial, and use very precise
rules and methodologies for this
assessment.
There are various elements that
determine the characteristics of a
water: its pH, its percentage and
“quality” of dissolved carbon
dioxide, and its varying degree of
qualitative and quantitative
mineralization.
Finally, as no water is identical to
any other, and each one has its
own personality and
characteristics, it is necessary to
conduct both a sensorial analysis
and a laboratory analysis, two
studies that can be mutually
supportive.
Therefore, the ultimate objectives
of water tasting are numerous:
learning to appreciate this
beverage, drinking it with the aim
of perceiving its qualities, being
able to select which one would be
best matched with wine and food,
and, last but not least, being able
to describe it so that we may
speak of it with competence and
knowledge.
T H E WAT E R TA S T I N G
WHY CONDUCT
A WAT E R TA S T I N G ?
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27
TA S T I N G T O O L S
he glass has always been
entrusted with the
function of containing a liquid
that is to be brought to the lips
and consumed. To perform this
function, containers of various
materials and shapes have been
created over the centuries.
Terracotta, wood, metal, plastic,
paper and glass are materials with
which such containers are
produced today, but tastings
rigorously require that the glass
used be in crystal or some form of
crystal glass. These materials are
without rival in terms of reactivity
to light and shadow. They are also
hygienic, durable, compact, do
not reflect light and are perfectly
transparent. Finally, they are
capable of taking on and
maintaining the desired form.
Glasses come in an infinite variety
of shapes. As the “success” of a
tasting glass depends on its
allowing for the proper
organoleptic assessment, it is
necessary to identify the most
suitable shape for perceiving
aromas and tastes, even those that
are well hidden. And so, glasses
are designed specifically and
primarily for its users to
appreciate every nuance of a
water, to prolong and exalt the
pleasure of its freshness and even
to beautify and complete the
dining table.
Given that a glass is of such
fundamental importance during
organoleptic assessments and
tastings, when dealing with two
waters having different
characteristics one needs two
containers of different shapes, one
for still water and one for
sparkling water (and therefore one
for S.Pellegrino and one for
Acqua Panna).
These two types of glasses have
some characteristics in common
and others that are different. In
common they have the material
with which they were made, the
absence of edges and sharp angles,
the absence of a stem, and their
thinness, particularly around the
rim. The difference, instead, is
found in their shape (in particular
that of the mouth and the
bottommost part of the glass’
bowl), which have been specially
selected for the type of water to
be examined.
It has been unquestionably
determined that glass is the only
material with which a tasting
should be conducted. That the
absence of edges allows for easy
and perfect cleaning of the
container is similarly obvious.
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30
molecules with a high molecular
weight. Furthermore, in the
organoleptic analysis of water, it
is not necessary to rotate the glass
nor to hold it in one’s hand for a
lengthy period of time. Finally,
the rim of the glass must be thin
because this will facilitate contact
with the lips and the passage of
the water into the mouth and
will therefore assist in the
perception of its flavors.
Yet why two different glasses, one
for Acqua Panna with a wide
mouth, and another for
S.Pellegrino, with a narrow
mouth? The glass designed for
Acqua Panna allows for the nose
to move in closer towards the
water and consequently to better
perceive its delicate, subtle
aromas. In addition, the wide,
flared mouth makes it easier for
the taster to take generous sips so
that the pleasurable sensation is
perfectly perceptible and
prolonged for a few seconds.
For S.Pellegrino, instead, the
glass narrow mouth maintains its
“perlage” at length and prompts
the head to be lifted back, a
position which allows for very
small quantities to be consumed
with each sip. This has the aim of
controlling the flow of the liquid
onto the taste receptors and
directing them towards the areas
of the tongue that are more
sensitive to the perception of
specific sensations, in particular
that of acidity, which generates
the sensation of freshness. This
type of container also
concentrates the water’s aromas,
which becomes indispensable and
necessary in making the correct
matchings with wines having
high contents of extract and
tannins as well as strong aroma
sensations.
Cleaning the Glasses
T
he glass is the taster’s
fundamental tool, just
as the needle is for the tailor and
the paintbrush is for the painter.
Therefore, just as a tailor cannot
work with a bent, broken needle
and the painter cannot work with
a stiff, dirty paintbrush, the
taster, or the person who
organizes a tasting, must see to it
that the glasses that are to be
used are perfectly clean, spotless,
without residues and odorless.
One rule, which might initially
seem to be little hygienic, yet is
still valid every time one is
washing glasses, is never to use
detergents to clean them. This is
because cleansing products
contain odorous substances
which, if not thoroughly removed
through rinsing, can mingle with
the delicate aromas of the water
to be tasted, which would
compromise the olfactory
analysis.
When using a tasting glass for the
first time, one must conduct a
particularly thorough washing.
This washing must be done first
with warm water and then with
vinegar, making sure that the
latter perfectly bathes the entire
surface of the glass walls.
This careful operation is needed
to perfectly remove greasy
residues and dust which can
accumulate on the glass.
Following this, one should rinse
the glass with generous amounts
of hot water, making sure that
the pungent odor of the vinegar
is completely removed. A final
rinse should be done with
demineralized water so that the
glass will dry when turned upside
down without any risk of the
formation of spots due to lime
deposits and without the need to
resort to drying the glass with a
towel. In the event that this
particular rinsing step is not
done, it will be necessary to
carefully dry the glass with a
cloth that does not leave behind
odors or any traces of fuzz. One
example of a proper cloth is one
Yet less understandable and
evident is that the glass should be
without a stem. In fact, we have
always been told that the glass
must have a stem and a foot,
which is to be held between the
thumb and index finger so as to
avoid heating the liquid
contained inside. Instead, in this
case, as the aromas of the water
are so subtle and delicate (and
even imperceptible at times) a
slight degree of heating becomes
necessary in order to facilitate the
evaporation of the aroma
STRUMENTI DI
D E G U S TA Z I O N E
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31
During the drying process, the
glass must be held with the hand
cupped open. It is allowed to
drip, and then quickly dried on
the outside. Following this, still
holding the glass firmly by its
base, insert one corner of the
cloth inside the glass with the
thumb and move it down until it
reaches the bottom. Then rotate
the glass, holding the cloth firmly
so that it dries both the inside
and the outside of the glass at the
same time.
Once an accurate cleaning has
been done, the tasting glass is
ready to be used. But it is better
to proceed with a further check
by holding the glass up against
the light (in order to make sure
that there are no deposits or
spots) and by placing one’s nose
over the mouth of the glass to
check for the presence of odors.
In the event that the glass is not
in perfect condition, rinse and
dry the glass once again.
When this essential tasting tool has
been perfectly cleaned, before
proceeding with the organoleptic
assessment, “prime” the glass with
the water to be tasted. That is, place
a small portion of water in the glass
and have it run thoroughly along
the sides of the glass and then
remove it as thoroughly as possible,
allowing it to drip out. At last, the
glass is ready to be filled with the
water to be tasted.
After the tasting has been
completed, clean the glass once
again, excluding the phase of
cleansing with vinegar. Rinsing
the glasses with vinegar will be
necessary at a later time in the
event that the glasses have been
stored in dusty, humid or
unpleasant-smelling locations, if
they have not been used recently,
or if they have been left with
traces of lipstick or fingerprints.
that is made of linen, has been
set aside exclusively for this
purpose and has been washed
using unscented soap.
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O
rganoleptic analysis
consists of the careful,
meticulous, methodical and
structured assessment, conducted
with the sense organs, of a food or
beverage. The sensorial
stimulations, the perceptions and
the information deriving from the
external world are collected,
classified and recorded by the
receptors. Once perceived, the
stimuli are transformed into
nervous impulses and conveyed by
the nerves to the centers of
sensorial integration, which are
located in a special region of the
cerebral cortex. Following this, the
cerebral cortex processes and
defines the perception and
generates the corresponding
sensations. The sensations created
are first filtered and sorted, then
analyzed, corrected and completed,
and finally classified and stored so
that an archive is created by the
higher centers of the brain.
From this description, it is clear
that – in order to carry out all of
these steps and distinguish banal
sensations from meaningful ones
as well as express a judgment on
what it is analyzing – our bodies
must not only be accustomed to
doing so but must also be in a
suitable environment and physical
Restaurant Gualtiero Marchesi - Albereta
state. For the taster himself,
calmness, good health,
concentration and absence of
fatigue are the ideal conditions,
while those for the environment
include soft lighting, a temperature
of around 20°C and mild
ventilation to avoid allowing odors
to accumulate in the tasting room.
Another aspect that limits the
taster’s performance is
acclimatization; after a certain
number of tastings, the sense
organs can no longer perceive the
stimuli correctly because they have
grown accustomed to the previous
ones encountered and
consequently have lost their
sensitivity. In this case, it is best to
suspend the tastings for a number
of minutes.
The components of the orchestra
elected to play the instruments
during tastings are the five senses:
touch, hearing, sight, smell and
taste.
Touch is needed for the
appreciation of a beverage’s physical
qualities and is the first element
that is put into play during a water
tasting. Touch allows us to
appreciate freshness when we take
our first sip of water as soon as
liquid is poured into the glass.
Hearing is, in this case, the sense
that is the least involved in the
tasting, yet a trained ear can
perceive the sound of the
bubbles of sparkling water and
the pleasing silence of still water.
These imperceptible sonorous
sensations are useful in
completing and formulating a
full understanding of the water
that we are tasting.
Sight, instead, plays a very
important role. Man’s sensorial
universe is essentially visual.
Sight is constantly used in
everyday life, whatever type of
activity we are engaged in.
Finally, it allows us to
simultaneously compare samples,
as long as there are not too
many of them. In general, when
one makes a selection and feels
that a beverage may be
considered enjoyable or not, one
reacts first to color and then to
smell. In fact, water that is
cloudy or not perfectly clear is
instinctively discarded. The
visual analysis of water allows us
to evaluate two fundamental
elements: clarity and
effervescence.
One’s sense of smell has the
veritably unequaled capacity to
discriminate.
TA S T I N G
TECHNIQUE
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TA S T I N G
TECHNIQUE
The quantity of aroma
compounds necessary to trigger
olfactory sensations is somewhere
around billionths of a milligram,
yet in order to be recognized, the
sensations must be far stronger.
One’s memory of smells resists
better over time than one’s
memory of colors, yet the
association of smells with their
respective names is more difficult
and complex than that of colors.
In the case of water, our sense of
smell allows us to identify the
presence of abnormal smells.
Finally we have taste, which is
clearly one of the most important
senses in selecting a food or
beverage, particularly because of
the pleasure derived from this.
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Taste
Taste is a chemical sense
connected to the existence of
special receptors located in the
oral cavity. These are stimulated
by ions in solution. The following
characteristics are identified
through gustative analysis: acidity,
sapidity, structure, lightness and
mouthfeel.
Furthermore, taste is always
connected to one’s sense of smell,
and when one’s sense of smell is
hindered, his sense of taste is
“paralyzed”. The sensorial analysis
that is connected to both the
sensations of taste and those of
smell is defined as “gustativeolfactory” analysis, which allows
us to assess the balance and
persistence of a beverage.
Observe
To conduct a correct sensorial
analysis of waters, one must have
all of the necessary tools at his
disposal:
■
■
■
a sufficient number of glasses
with the proper shape so that
each sample has its own tasting
glass
tasting charts and a pen
a carafe of tap water.
■
The process used to conduct a
tasting is very rigorous as it has
been carefully designed so as to
allow for the perception of each
nuance to be found in a water.
■
As soon as the bottle is opened,
pour the water into the
■
appropriate glass. Fill the glass
around 1/3 of the way up. Then
take a generous sip of the water
and immediately make an
assessment of its freshness.
Empty the remaining water
from the glass and fill it once
again 1/3 of the way up. First
raise the glass to eye level and
then lower it so as to observe the
water from above. Horizontal
and vertical evaluations of the
water will allow for the
identification of any foreign
particles or abnormal colors.
Most importantly, it will also
allow the taster to appreciate the
effervescence of sparkling water.
Raise the glass up under your
nose and breathe in deeply at
Smell
■
■
regular intervals. This step is to
be repeated several times. If
possible, it is to be done with
one’s eyes shut in order to raise
one’s concentration as much as
possible so as to obtain olfactory
responses even in the presence of
a single aroma molecule.
Take a sip of the sample
amounting to around 15 ml.
Allow it to rest on the tongue,
then distribute it throughout the
mouth. Lead the water to the
back portion of the tongue and
swallow. This process allows for
the evaluation of acidity,
sapidity, structure, lightness and
mouthfeel.
Once again, take a generous sip
of the water, allowing it to rest
Taste
■
on your tongue. Allow a small
quantity of air into your mouth
and exhale through your nose.
Lead the water to the back
portion of your tongue and
swallow. The gustative-olfactory
analysis will determine balance
and persistence.
Rinse your mouth with tap
water and proceed with the
analysis of the following sample.
Pour
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USE OF THE
WAT E R TA S T I N G S C O R E C A R D
he scorecard is a
taster’s vital tool
for several reasons: it makes
a subjective analysis as
objective as possible, tries to
arrange the perceptions felt
by the 5 sense organs and
those received by the brain,
simplifies the taster’s task,
avoids possible mistakes,
evaluates the sensory
perceptions in terms of
quality and quantity and,
last but not least, creates a
common language among
the “insiders”.
The scorecard for water
tasting is easily readable
thanks to the reference mark
next to each term.
Agreeing on the meaning of
the different technical terms
is fundamental in order to
give an objective opinion, as
follows:
F R E S H N E S S : pleasant gustative perception of natural cool
E F F E RV E S C E N C E : quantity and size of the bubbles
C L A R I T Y : lack of particles in suspension and transparency of the water
U N P L E A S A N T S M E L L S : olfactory perception of unpleasant smells
A C I D I T Y : perception of freshness which is felt as soon as the mouth is
filled with water and immediately after swallowing
S AP I D I T Y : perception coming from different kinds of salts
S TR U C T U R E : global evaluation of body complexity and water richness
L I G H T N E S S : ability to “rest softly” on the gustatory bulbs
S O F T N E S S : gustative perception which is typical of a delicate, tonic and
almost velvety water
B AL A N C E : a “wrapping” sensation coming from an existing harmony
among the various gustative perceptions
P E R S I S T E N C E : duration of the different olfactory and gustative
perceptions in the mouth and nose
NB: The terms are in the exact order in which the perceptions are felt
if tasting in sequence.
Each item can be evaluated from 0 to 10 (using only even numbers):
0 is the minimum while 10 is the maximum.
Scores:
0: no sensory perception
2: limited but recognizable sensory perception
4: clear perception
6: intense and sharp perception
8: persistent and pleasant perception immediately felt
in the nose and mouth
10: saturation of sensory perception on the gustatory bulbs
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TA S T I N G
S.PELLEGRINO
S.PELLEGRINO
&
ACQUA PANNA
Pellegrino is brilliant,
lacking in any
distracting odour, with a fairly
dense perlage of reasonably fine
bubbles in abundance.
The immediate impression on the
taste buds is one of tingling
freshness, followed by moderate
With its pleasing taste and rich structure,
S.Pellegrino covers big part
of the properties on the right-hand side
of the scorecard.
acidity that stimulates salivation,
while the high mineral content
leaves a pleasant aftertaste.
Generally speaking, S.Pellegrino
has a commendable structure, and
leaves behind a persistent and
gratifying sensation.
S.
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TA S T I N G
A C Q U A PA N N A
S.PELLEGRINO
&
ACQUA PANNA
cqua Panna is limpid
and luminous and has
neither effervescence nor any offputting odour, and at the first sip
has a pleasant, fresh taste.
Acqua Panna is low-acid in type,
and carries few mineral salts,
without however impairing its
Acqua Panna’s predominant properties
of lightness and low-mineral content
are evenly distributed through
the scorecard.
structure. To the taste it is light
as a feather, pleasantly soft and
velvety. Acqua Panna shows a
perfect balance in all its
components, while the sensations
induced linger in the nose and
mouth for an appreciable period
of time.
A
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with a weak-structured wine that
does not linger on the palate, and
so prefers a well structured
vintage that imposes itself,
making a rich combination of
flavours that complement each
other.
Hence, in order to ensure a
perfectly harmonious match, we
apply the principle of mutual
accord between the sensations.
By this principle, to blend
properly with the wine it
accompanies, the water must be
either equal, or slightly above or
below in intensity of taste with
respect to the wine. Whereas,
according to the principle of
counterbalance, the sensations
induced in the one offset those in
the other, neutralising each other,
so to speak.
If the wine is of the type that
lingers long in the mouth, it
should be harmonized with a
water of like personality that is
capable of contrasting the intense
sensations of the wine. Hence its
function is to “clean” and “free”
the palate of residue sensations
that might inhibit the pleasure of
the ensuing sips of wine.
Harmonization through accord
occurs when a softer, suave wine
is accompanied by a similarly
smoother water. In this case the
blending of smoother taste
factors serves to avoid the two
fluids clashing or, worse, one
overpowering the other with a
dominant taste.
In this way the softer notes of
alcohol and lightness on the
tongue are enhanced, because the
slight warmth induced by the
wine is prolonged by a smoother
water, whereas that pleasant
lingering would be checked
immediately if a stronger type of
water overran the taste buds.
Furthermore, the acidity, flavour,
and tannic levels of the wine are
flanked by comparable acidity
and tanginess in the water to
stimulate salivation, thereby
compensating for the dryness in
the throat caused by the tannin,
and aiding the general “rinsing”
of the mouth.
Knowing how to match wine and
water is an art, but is by no
means difficult to master.
The guidelines we have provided
here are enough if accompanied
by direct experience, by
experimenting and become more
aware of these sensations during
every meal.
&
nce the taste
connoisseur has
mastered the many subtle facets
of water’s particular effects on the
taste buds, he can now learn how
to harmonize the two
components, water and wine, to
reach the perfect combination
that brings out the qualities of
both, and hence avoid being
accused of any prejudice toward
either of these two noble fluids.
Sipped alternately, wine and
water should induce a sequence
of sensations that follow and
overlap each other, without either
one overpowering or annulling
the other. The correct
gastronomical accord or balance
consists not only in the nature of
the sensations induced, but also
in their quantity.
For example, with its velvety
lightness, Acqua Panna is not
suited to a full-bodied wine with
a bold structure, which would
swamp the water’s pleasant
delicacy, and instead blends
magnificently with a soft, suave
wine having a moderate alcohol
level.
Quite the opposite is true for
S.Pellegrino – with its fresh tangy
appeal it is incorrectly paired
H A R M O N I Z I N G WAT E R
O
WINE
HARMONIZING
WAT E R & W I N E
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HARMONIZING:
RULES AND EXCEPTIONS
■
■
■
Young red wines beaujolais
style: this type of wine is
distinctly fruity; the flavour is
fresh, fragrant and looser owing
to the lack of tannins, and its
highlights blend equally well
with either S.Pellegrino or
Acqua Panna.
■
Young red wines: these have
intense fragrance reminiscent of
herbs and small red fruits; the
palate perceives a pointed acidity
and tannin level and a welcome
persistence on the tongue,
Fresh and fr uity white wines:
their simple and fragrant
organoleptic characteristics are
revealed in the colour, bouquet
and taste, generally reminiscent
of fruit itself; for these the
recommendation is Acqua
Panna.
White wines aged in barrels: in
this case the aromas and taste
factors of the wine are more
complex; the contact with wood
enhances the fruity aroma and
Rosé wines offer a vast range of
organoleptic features that
depend on the production
technologies and, consequently,
when they are young, fresh and
light they blend readily with
Acqua Panna; when they have a
higher alcohol content they are
best matched with S.Pellegrino.
factors that match it well with
S.Pellegrino.
■
Slightly-bodied red wines:
belonging to this category are
wines that have secondary
aromas lingering below the
surface, hinting at mature fruit,
spices, and various aromas; such
wines are widely appreciated,
and offer a pleasant, balanced
taste spectrum, and therefore
harmonize perfectly with
S.Pellegrino.
■
Full-bodied, mature red wines:
wines in this bracket have strong
personality and an ample,
complex bouquet; on the tongue
they are round and smooth
although an edge is clearly
perceivable; owing to this
persistent flavour and the high
tannin, such aged reds
harmonize admirably with
S.Pellegrino.
■
Aromatic sweet sparkling wines:
wines of this type are usually
served with the dessert, owing to
their light and lively fragrance,
making them an ideal
combination with Acqua Panna.
WINE
■
even adds a gentle tang of spice;
the taste is round and the
alcohol warms the tongue; this
kind of wine is perfectly
matched with Acqua Panna
owing to its light and smooth
tone.
&
he practice of
harmonizing water with
wine involves a wide set of
variables, and the solutions in
terms of taste are practically
limitless, and in many cases
unrepeatable. The fact is that,
while water presents a constant set
of organoleptic characteristics,
(if properly preserved) wine can be
considered an authentic nutritional
substance and boasts a range of
smell and taste factors that vary
considerably. Despite this, it is
worth providing a few guidelines
on how and what to choose, and
which type of harmonizing is
preferable or to be excluded.
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HARMONIZING:
RULES AND EXCEPTIONS
As can be expected, any fixed set
of rules is bound to encounter
objection and confutation, and
indeed the exceptions that follow
offer situations, cases, and
particular products in which the
aforesaid “rules” of harmonization
between water and wine may
readily be subverted.
■
Classic sparkling wines and
champagne with vintages: these
■
■
Great red wines: where these
wines are drunk alone and not
during the meal, they should be
accompanied by Acqua Panna,
so as to savour at greater length
the effect on the palate, and
therefore appreciate each
successive sip.
Full-bodied white wines with a
strong str ucture that have been
aged in the barrique and in the
bottle to acquire those
characteristic, persistent aromas
and flavours, can only be
properly harmonized with the
intense sparkle of S.Pellegrino
water.
■
White wine ser ved for aperitif
are the ideal with S.Pellegrino
again, because its carbondioxide favours the secretion of
gastric juices and sharpens the
appetite; by uniting this type of
wine with S.Pellegrino one
achieves the purpose itself of the
aperitif: the organism is
prepared for the coming meal.
WINE
Sparkling wines, and
champagne without vintage:
these products are particularly
eclectic, and their pointed, fresh
flavour is due to their acidity;
they are served to accompain
the whole meal, and are
perfectly suited to either
S.Pellegrino or Acqua Panna.
must be accompanied
exclusively by Acqua Panna
because they boast refined,
elegant aromas and flavours, in
addition to offering a perfectly
harmonious taste spectrum.
&
■
For tified wines: these can be
either dry or sweet; the
sensations they provoke are
highly varied, starting with the
effect on the palate, where they
present a smooth tone warmed
by the alcohol and a tangy
freshness on the tongue and an
intense sensation good measure
of acidity; this versatility makes
them suitable equally for either
Acqua Panna or S.Pellegrino.
■
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49
S.Pellegrino
WAT E R & W I N E
H A R M O N I Z AT I O N C H A RT
Acqua Panna
Acidity:
Water
Tannins:
Wine
Alcohol content:
Water
Wine
Softness:
Sweetness:
Water
Water
Wine
Wine
Persistence:
0 = lowest
10 = highest
he water&wine
harmonization chart
may look difficult at sight.
That’s why we have tried to
realize a graphic-technical
method which could give useful
instructions to people
approaching this subject for the
first time. In this card the
geometrical figures concerning
the sensory perceptions of Acqua
Panna (orange) and S.Pellegrino
(blue) have become a graphic
thanks to the data obtained from
the tasting scorecard used
previously.
To fill in the harmonization
chart it is necessary to analyze
and evaluate the wine using a
number between 0 and 10 (all
numbers in between should be
taken into account:
use 0 when the palate doesn’t feel
any sensory perceptions and 10
when the palate feels the
maximum level of perceptions)
and write down the chosen
number in the given boxes of the
water&wine harmonization
chart.
S A P I D I T Y : perception coming from different kinds of mineral salts
A C I D I T Y : quality which stimulates salivation
TANNINS: astringent perception which puckers the tissue of the mouth
ALCOHOL: perception determined by the alcoholic degree, which gives a
sensation of warmth or even burning
P E R S I S T E N C E : duration of different olfactory and gustative perceptions
in the mouth and nose
S O F T N E S S : wine having a fine, round texture and a pleasant consistency
Enjoyable and harmonious in the mouth
SWEETNESS: sweet taste given by the presence of residual sugars
E F F E RV E S C E N C E : small bubbles of carbonic acid giving a pleasant
“itching” sensation
S TR U C T U R E : full-bodied wine rich in alcohol and extraction elements
B A L A N C E : it characterizes a wine whose organoleptic components are in
perfect harmony
All the items suggested to help
evaluate the wine are gustative
and gustative-olfactory and
concern:
To complement this card some suitable boxes have been added: they
indicate some values the taster may decide not to use to drawn the
diagram, but as an interesting source of extra information on water and
wine.
Mark the chosen value with a point on the cartesian axis (when you have
more than one value use the highest one).
Join the different points to obtain a polygon.
If the polygon is similar to the orange one, the wine will perfectly match
with Acqua Panna.
On the contrary, if it is more similar to the blue one, the wine will
harmonize better with S.Pellegrino.
Last but not least, when the drawn polygon is similar to both the blue
one and the orange one, the wine can match with both waters and the
final choice could be made on the basis of a third crucial element: food.
WINE
Sapidity:
&
T
Wine
Water
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51
T
he first written text
dedicated to water and
how to harmonize it with wine
would have remained incomplete
if certain distinguished
sommeliers of national and
international renown had not
been invited to join in the
“discussion”.
Any debate on this argument in
fact involves assessing the
organoleptic properties of wine
and water in their entirety, as well
as their innermost, recondite
nuances of aroma and flavour.
inducing him to explore
memorable new experiences at
the dining table.
This is why each one of the
sommeliers convened chose a
wine of a particular quality
within a known type, describing
it in technical though often
surprisingly poetic terms, so as to
foster greater understanding of
the product, and help the
newcomer to grasp the
procedures for harmonizing a
given wine with one of the two
mineral waters discussed.
The sommelier is the principal
professional figure equipped to
make such assessments, since part
of his or her professional knowhow is to distinguish and identify
taste factors in infinite detail.
Prompted by the need to perfect
their art, sommeliers are always
keen to discover products from
all over the globe, be they already
acclaimed or otherwise littleknown. Furthermore, owing to
their unique capabilities,
sommeliers also attract the
attention of the client,
establishing his trust and
While these experts have a special
way of speaking of water and
wine, describing with the utmost
ease the exquisite properties of
these two products, they have
also provided some interesting
pointers on the “pleasant debate”
on how and where to harmonize
the two.
It is owing to their daily
professional activity, in which
they are in constant contact with
the consumer, that they can
successfully “relate” their
remarkable new gastronomical
experiences.
THE OPINION OF ELEVEN EXPERTS
THE OPINION
O F E L E V E N E X P E RT S
WC
53
MARKUS DEL MONEGO
Best Sommelier
of the World 1998
T
his wine produced with
noble riesling vines with
its intense mineral traces boasts a
panoply of ultra-fine aromas of
yellow fruit, iodate and spices,
saffron, white pepper, and a
closing aura of acacia honey. To
the palate it presents plenty of
structure and a persistent note of
freshness, which confers a touch
of mettle and elegance. Despite
the nicely delayed intensity of the
taste, the fluid seems to float, such
is its lightness, which is why
Acqua Panna makes such an ideal
harmonizer.
RIESLING SPÄTLESE
Germany
WC
55
SERGE DUBS
Best Sommelier
of the World 1989
T
his Champagne has an
abundant mousse with
fine and persistent bubbles. The
aroma is rich with keen notes of
white fruit, flowers, white pepper
and breadcrusts. In the mouth it is
generous, pleasantly creamy with a
strong but agreeable acidity that
holds the structure together. The
concluding sensations consist of a
persistent note of freshness that
combines equally well with Acqua
Panna or S.Pellegrino. The
harmonization with Acqua Panna
will be perfect if the aim is to take
the edge off the wine and ideal
with S.Pellegrino if one prefers to
accentuate the taste and freshness.
If served with a dessert, the choice
of water is determined by the
third variable of the type of
dessert on the menu.
CHAMPAGNE
France
WC
57
E VA N L A M B E R T
Former President
of the American Sommelier Association
T
he speciality of this
Chardonnay is its solid
structure and the array of subtle
fragrances with nuanced
aftertastes. First come the
delightful apple aromas,
harmoniously flanked by slightly
sharper vanilla and banana, while
the mouth immediately
encounters the softer notes that
barely conceal the rich fresh tones
of acidity, and a reasonable
persistence of flavour. This wine
harmonizes perfectly with Acqua
Panna, which helps bring out the
wine’s structure and the pleasing
notes of freshness, affirming a
well-proportioned balance and
wholesome personality.
CHARDONNAY - SONOMA
USA
WC
59
DANIEL A KRAMARIC
Best Sommelier
of Croatia 2000 and 2001
T
he deep red hue reflects
the personality of this
Shiraz. Its aroma is tinged with
spices, flowers, and fruit buds
such as blackberry and eucalyptus,
which elicit a sustained and
elegant trail of spicy aromas such
as black pepper and wood, which
mingle with typical scents of this
kind of soil. The intensity of the
fruit merges perfectly with the
tannins, sustaining the sensation
for considerable length. A “dense”
wine that harmonizes perfectly
with S.Pellegrino, owing to the
latter’s own persistence. In this
case, both the water and the wine
leave an abiding and pleasant echo
on the palate.
COONAWARRA SHIRAZ
Australia
WC
61
K Á L MÁ N KOZMA
President
of the Hungarian Sommelier Association
T
he gilded hue with gentle
notes of amber and a
spectacular bouquet bringing hints
of ripe fruits as quince, dried fruit
as hazelnuts and almonds, together
with dashes of apricot, honey, and
spices, make this product quite
unique in its spectrum of
expression. The effect on the palate
is complex: lively acidity
harmoniously combined with its
full structure a true spectacle of
harmonious sensations of sweetness,
with a smooth and appealing
balance. Its structure is elegant and
refined, and it terminates with long
and pleasant notes of chestnut,
dried figs and dates. The alcohol
content enhances the gustative
sensations. It is eminently simple to
harmonize this wine: the best suited
is S.Pellegrino if the aim is to
sustain the plucky mineral qualities
of the wine; and Acqua Panna
instead if prolonging the wine’s
persuasive sweetness is preferred.
TOKAJI ASZÚ 6 PUTTONYOS
Hungary
WC
63
P H I L I P P E FAU R E - B R A C
Best Sommelier
of the World 1992
V
intage Port is a
sumptuous wine with a
deep and rich violet hue. First
impressions include herbaceous
aromas with notes of blackberry
cut with points of violet, bitter
chocolate, coffee, and spices.
On the tongue it is assertive and
in some cases offers an explosion
of taste. The warm body blends
marvellously with the hints of red
fruits and buds, giving the wine
an unusual softness and smoothes
the edges of the tannins, bringing
harmony. Consequently, Vintage
Port requires a water with
character, relatively acidic, but
most of all persistent in taste, such
as S.Pellegrino. The resulting
match is unforgettable!
VINTAGE PORT
Portugal
WC
65
NIKOS LOUKAKIS
Best Sommelier of Greece of 1998 and 2000,
Winner of Trophée Ruinart
A
ssyrtiko has a bright
yellow colour, which is
very typical especially from those
of Santorini, with light green
hints. The wine looks consistence
with slow tears coming down
explaining the alcoholic potential
of the wine.
The nose has medium intensity,
and persistence with delicate
aromas of mature citrus fruits,
white flowers and minerality.
The mouth is dry, warm and with
high acidity which is refreshing
the mouth. The minerality is more
pronounced in the mouth and the
citrus flavours we found in the
nose still exists and giving a
medium palate and is balanced
according to its typicity. The wine
is harmonious and should be
drunk young (2 years from the
vintage), chilled at 10 °C with
Acqua Panna.
ASSYRTIKO OF SANTORINI
Greece
WC
67
MARC FRIEDERICH
Best Sommelier of Suisse 1991,
Winner of Trophée Ruinart
P
inotage is a deep red
wine with flashes of
purple. Its gamut of aromas
include red fruit such as plum,
together with blackberry and
raspberry, and a hint of banana.
On the palate it presents a worthy
structure, its body rich in alcohol
and a good tannin balance, and
tails off with a smooth and
persistent afterglow. This type of
wine harmonizes ideally with
S.Pellegrino, whose distinct taste
and freshness lends a noble touch
and ensures harmony and balance
on the palate. The coupling with
S.Pellegrino effectively enhances
the organoleptic properties of
both liquids.
PINOTAGE
South Africa
WC
69
G I U S E P P E VA C C A R I N I
Best Sommelier
of the World 1978
T
o the eye this wine is an
intense ruby with subtle
flecks tending toward garnet. Its
aromas include traces of cherry,
blackberry, plum, and violet,
which emerge from a delicate and
compact gamut of noble sweet
spices such as cinnamon, and
from delicate hints of leather,
tobacco, and chocolate. On the
tongue it evinces personality,
offering a perfect balance between
the sharper tannic edges and the
softer, rounded sensations of the
alcohol. It terminates with a
remarkable persistence in the
mouth, offering subtle notes of
mature fruit and spices. The
harmony established between a
“classic” Chianti Rufina and
S.Pellegrino is perfection itself: the
two products never clash, but lead
in the same direction, leaving the
mouth clean and imbued with
lasting, pleasant sensations.
CHIANTI RUFINA
Italy
WC
71
HECTOR VERGARA
President
of the Associación Sommeliers de Chile
V
ery deep, concentrated
black cherry colour with
violets overtones. The nose
displays smoky cedar, new leather,
blackberries with hints of
menthol, aniseed, and spices.
The taste is full-bodied,
structured, with finely grained
tannins, mingling with berry
flavours, rich and soft texture, all
this being finely framed by cigar
box like scents, tobacco and
chocolate notes. The aftertaste is
long and very persistant.
Cabernet-sauvignon harmonizes
ideally with S.Pellegrino, as the
sustained taste of the wine
perfectly matches the intense
notes of the water.
CABERNET-SAUVIGNON
Chile
WC
73
C È Z A R C A N O VA S
Best Sommelier
of Spain 2002
R
ioja is an excellent
wine produced with
tempranillo vines; it as deep ruby
hue with a hint of slightly
orange-red at the borders.
Its bouquet is rich in aftertastes
that denote tobacco leaves, leather,
vanilla, liquorice and mature
blackberries, redcurrant and trail
into notes of wood and noble
spices. In the mouth it triggers a
keen sense of warmth which
adequately offsets the sense of
acidity and the tannins, which
remains present but smooth.
The fine, elegant structure carries
the sensations through for some
time, and it is best harmonized
with S.Pellegrino.
RIOJA RESERVA
Spain
WC
75
T H E S E N S AT I O N S
OF FOOD
ater, food and wine are
basic features of every
dinner. It comes to no surprise to
anyone that food and wine are
“paired” together, yet the notion
that water must also harmonize
with both of these may cause
some to smile, shake their heads
and be puzzled.
There are many reasons why
perfect harmony is needed among
these three features.
Creating the perfect harmony is
therefore not a form of pretension
or contrivance. It is virtually a
need, an indispensable obligation
so that we may be assured all of
the pleasure that fine dining has
to offer.
The fundamental rule in pursuing,
achieving and optimizing pleasure
in dining is that neither the aroma
nor the flavor of one of these three
items should prevail over the
others. By following this principle,
we can say that for foods and
wines that are not very intense or
persistent in their sensations, the
accompanying water must be still,
with low fixed residue and a low
quantity of salts, and therefore
must be balanced, refreshing, soft
and smooth with light, subtle
aromas. On the other hand, the
water that is best matched with
foods and wines that are
structured, complex and have full,
persistent flavors and aromas
should be slightly acidic, sapid,
pleasingly refreshing and have
medium-sized bubbles.
At the end of the meal, if you wish
to rinse your mouth in a manner
that prolongs the soft, smooth
sensations left on the palate by the
dishes you’ve enjoyed, drink Acqua
Panna. If, instead, you wish to
remove the organoleptic
sensations, choose S.Pellegrino.
These are very general rules that
need to be studied more deeply.
The harmonization between water,
wine and food is a far too complex
and articulated subject to be fully
covered by these few words. It
deserves to be further developed in
a specific project.
T H E S E N S AT I O N S O F F O O D
W
WC
77
Water
THE S.PELLEGRINO & ACQUA PANNA
C
CO
OD
D EE X
X
A C K N OW L E D G E M E N T S
TYPE OF SAMPLE TASTED
OBSERVATIONS
DATE
TIME
TASTING LOCATION
Water Tasting Scorecard
SIGNATURE
0
Wine tastings:
Markus del Monego, Serge Dubs, Evan Lambert, Daniela Kramaric,
Kálmán Kozma, Philippe Faure-Brac, Nikos Loukakis, Mark Friederich,
Giuseppe Vaccarini, Hector Vergara, Cèzar Canovas
2
4
6
8
10
F RESHNESS
E FFERVESCENCE
Wine producers:
Marchesi de’ Frescobaldi, Luis Guntrum, Moët & Chandon,
St.Jean, Penfolds, Langasztrnomia KFT., Silva Tosens Ltd., Sigalas Wine Company,
Simonsberg Stellenbosh, Almaviva, Unión viti-vinicola, S.A.
C LARITY
Special thanks to:
Bormioli Rocco for Glassware
Restaurant Gualtiero Marchesi - Albereta
Restaurant Chatulle - Milano
Association de la Sommellerie Internationale
The students of the ASI course
for specialization in “sommellerie” - Milano
U NPLEASANT S MELLS
A CIDITY
The many friends who have taken part in this project
S APIDITY
Authors: Claudia Moriondo, Giuseppe Vaccarini and Carlo C. Galli
S TRUCTURE
Photographs: Michele Tabozzi
Project: Besanopoli (Lorena Vivace and Valentina di Robilant)
L IGHTNESS
Translations: Leah Janeczko, Andrew Ellis, Patrizia Fiori
Colour separation: M&A - Milano
S OFTNESS
Print: Grafiche Mariano - Mariano Comense - Como
Printed in March 2005 for the
S.Pellegrino-Acqua Panna International Business Unit
✃
B ALANCE
P ERSISTENCE
0 = lowest
10 = highest
USE OF THE
WAT E R TA S T I N G S C O R E C A R D
T
he scorecard is a
taster’s vital tool
for several reasons: it makes
a subjective analysis as
objective as possible, tries to
arrange the perceptions felt
by the 5 sense organs and
those received by the brain,
simplifies the taster’s task,
avoids possible mistakes,
evaluates the sensory
perceptions in terms of
quality and quantity and,
last but not least, creates a
common language among
the “insiders”.
The scorecard for water
tasting is easily readable
thanks to a reference mark
has been put next to each
term.
Agreeing on the meaning of
the different technical terms
is fundamental in order to
give an objective opinion, as
follows:
F R E S H N E S S : pleasant gustative perception of natural cool
E F F E RV E S C E N C E : quantity and size of the bubbles
C L A R I T Y : lack of particles in suspension and transparency of the water
U N P L E A S A N T S M E L L S : olfactory perception of unpleasant smells
A C I D I T Y : perception of freshness which is felt as soon as the mouth is
filled with water and immediately after swallowing
S AP I D I T Y : perception coming from different kinds of salts
S TR U C T U R E : global evaluation of body complexity and water richness
L I G H T N E S S : ability to “rest softly” on the gustatory bulbs
S O F T N E S S : gustative perception which is typical of a delicate, tonic and
almost velvety water
B AL A N C E : a “wrapping” sensation coming from an existing harmony
among the various gustative perceptions
P E R S I S T E N C E : duration of the different olfactory and gustative
perceptions in the mouth and nose
NB: The terms are in the exact order in which the perceptions are felt
if tasting in sequence.
Each item can be evaluated from 0 to 10 (using only even numbers):
0 is the minimum while 10 is the maximum.
Scores:
0: no sensory perception
2: limited but recognizable sensory perception
4: clear perception
6: intense and sharp perception
8: persistent and pleasant perception immediately felt
in the nose and mouth
10: saturation of sensory perception on the gustatory bulbs
In this book Acqua Panna and S.Pellegrino
share their long-standing knowledge in the field of mineral water
with food and wine experts and enthusiasts.
The methodical approach and analytical language,
and above all the aim to provide a clear outline
of how to appreciate and serve water
at the dining table, justify the use of the Latin term “Codex”
for the title of this book.
In addition to listing the many sensory factors
that distinguish the taste esperience of these minirela waters,
a fair part of the book is devote to determining
how to ensure the perfect harmonization
between wine and water.
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Transcription

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