lambrusco a sparkling philosophy - Consorzio Tutela del Lambrusco

LAMBRUSCO
A SPARKLING PHILOSOPHY
LAMBRUSCO
FILOSOFIA FRIZZANTE
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LAMBRUSCO
A SPARKLING PHILOSOPHY
www.lambrusco.net
www.vini.reggiani.net
Consorzio
Tutela Vini Emilia
LAMBRUSCO
A SPARKLING PHILOSOPHY
CARLO
SINI
Philosopher
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The wine in philosophy and history
The issue is quite old. It originates from an ancient event,
whose roots looses in a remote time and which gave rise to
various myths, stories and transfigurations, revolving mostly
around Dionysus’ emblematic figure.
Through the events qualifying wine, a complex story of
civilization can be read.
There is a phase of mankind’s history, especially in the
Middle East, which has strengthened across the centuries
and has discovered an extraordinary product. The
procedure of its achievement was far from being simple and
its exciting power must have upset the customs of a primitive
society (if one can define it so, considering the existence of
more remote societies).
This primitive but closer society is the testimony of human
agricultural intervention on nature, i.e. of a Neolithic
phase. It occurred after a hunting period and its economy
was mostly characterized by cattle breading and earth
products processing. Among these products, an intoxicating
liqueur, precisely featuring the Mediterranean civilization,
emerges. Hence, the Greeks’ idea (then transfigured in their
imaginative fairy tale poems) of a God coming from abroad
and completely changing the customs of Greek cities. A
God, whose origin was variously set in the North and in the
South. According to one legend, He was a blonde, curlyhaired God coming from the Thrace, whereas according to
another one he was a divinity from Crete, the oldest country
in the Greek tradition. Probably both legends are truthful
because we still have white and black grapes. Nonetheless,
what is typical in these stories (afterwards extraordinarily
interpreted by Nietzsche) is the intuition of a goddess
perceived as upsetting and coming from elsewhere, even
if representing a human activity. Apparently, this God did
not come from elsewhere; on the contrary, most recent
paleographic, paleologic and philological surveys tend
to collocate him in a Greek (if not already pre-Hellenic)
antiquity.
He was probably perceived as the God of a transfiguration,
of a transformation with the power of, so to say, interrupting
the normal rules of everyday life. Therefore, one could
image this God to be the reviviscence, the echo – in more
evolved and complex times- of the ancient primitive orgy,
of the original sacred moment. On this occasion, the
community did recognize itself in a sort of abandonment
of social distinctions (limiting pulses and instincts) to end
up again in an excited animal unit, so to say. Here one
gives vent to primordial instincts, perceived as sacredness
of renovated life and as consanguinity of the group.
It is clear that the original group did sometimes need to
strengthen its unity in order not to straggle. We are all
scattered nowadays: According to anthropologists, who
have deeply examined these events, young people do find
some kind of unity in rock concerts.
However, Nietzsche’s intuition of Dionysus as the echo of
a primordial holy world, which at least for one day calls
everything into question again – think about the Carnival
as last ramification of his idea-; his idea of a break in the
cyclical coming back of life in nature, in growing, in a
society and the idea of necessary feasts of inebriated joy
of life are to be confronted with Granet’s discovery that
the same things happened in ancient China. The farmers
in ancient China celebrated Spring and Autumn feasts too,
which were controlled orgies through which young people
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LAMBRUSCO
A SPARKLING PHILOSOPHY
of displaced villages met for the first time and practically got
engaged and married. And they were also supported, if not
by wine, by other exciting drinks.
Hence, the great Nietzsche’s intuition of the human
societies’ necessity of two forces in dialectical balance.
On the one hand, the Apollonian order, the form, the
decency, the decorum, the rule and the rules compliance,
the so called sobriety; on the other hand, the inebriation.
These two forces have to balance each other because
society feeds itself on both of them; actually, they are in
opposition, one is the different face of the other. Nietzsche’s
intuition is very beautiful: in fact, Apollo and Dionysus are
the same personality seen from two different perspectives.
Hence the idea of the Greek ancient society as essentially
more civilized than Plato’s society and Socrates’ moralistic
society, which condemned the sexual instincts and mortified
life in the name of authority.
Wagner as well had this intuition: instead of intensifying
life, authority ends up with mortifying it. He did know these
things very well and was enthusiastic about Nietzsche telling
him those stories. Therefore, in his famous Wort-Ton-Drama
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The Nibelung’s ring an alternative is set: the person who
takes hold of the gold -the dwarves or, later, the giants- must
renounce love. We are in front of a decadent society ending
in the Walhalla, in the reason’s fire: intellect clears away,
so to say.
Nietzsche is undoubtedly co-worker in this vision drawn on
the Greeks, but nowadays we are able to go beyond it thanks
also to Giorgio Colli’s analysis. Philosophically speaking,
Nietzsche had his reasons to criticize the western society
as mortifying already in the Greek and Roman moralism
and even more in the Christian synthesis. Obviously, we
are talking about a Christianity which rendered itself social,
while Christianity itself is dionysiac: in Christ’s figure, the
God who is eaten during the Eucharist, we find the exact
story of Dionysus again, i.e. the God killed, eaten by the
Titans and then resurrected from Apollo. But Colli tells us
that Nietzsche was wrong when considering the dionysiac
feast simply as a sexual and sensual wildness: it was a feast
where excitement, in the heat of its passion, was hold by
God so that it could be transformed into knowledge.
This is very beautiful and one can deduce it from the
tradition itself, if we read it more carefully. In this way, wine
is no more opposite to sobriety and knowledge - so that we
lose our heads and do not understand anything anymore-;
on the other hand, the pinned wine, which is controlled
from intellect and form, from Apollo, from a cooperation
between Apollo and Dionysus, becomes that ardour, that
passion and outburst enabling knowledge, real knowledge.
So real knowledge lies at the bottom of the wine bottle, if
you do not switch to the second one.
As it is well-known, wine does have a long history: it
was already drunk by Greeks in their symposia and it is
remarkable that Athens based on the symposium not only
the ability of controlling, but also that of using wine. Old
and young people are all together and young people are
trained, so to say: they are incited to drink in a restrained
way to be then able to transfigure the emotion in singing,
in story and through this to get to know many things. In
other words, old and young people get to know each other:
old people narrate, young people sing. And everyone was
brought to that display of affection thanks to a wine, which
was different from ours. It was a sort of original must, which
needed to be diluted. However, that original must (from
which wine continued to derivate) contained the strength of
that primordial nature, which mankind has then somehow
controlled and refined during the centuries.
That is why a wine like Lambrusco, exploding with vitality
but preserving a rather sour aftertaste, does not forget the
origins. In brackets, even Heidegger, who spoke about the
union between sky and earth in water and wine, could be
considered a dionysiac.
Vice versa, a too velvety wine has lost this charge and
seems to be more suitable for very refined encounters
between very civilized people. Lambrusco, on the contrary,
has the power of the true genuine encounter between
people, who are definitely civilized, but not so refined to
become exhausted.
It is a honest wine, they say.
Carlo Sini, professor of the Lincean Academy
Already Professor of theoretical philosophy at the State University of Milan.
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LAMBRUSCO
A SPARKLING PHILOSOPHY
Lambrusco, a sparkling philosophy
GIORGIO
MELANDRI
Journalist
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The humble champagne of Emilia-Romagna. Thus, in the
‘50s, Mario Soldati defined Lambrusco in his unforgettable
“Vino al vino” (Wine to wine).
Much has changed since then, but Lambrusco, quoting
Soldati again, remains a wine people mostly thinks they
know about it, but they actually ignore it.
The real strength of this story lies exactly in having gone
through times by avoiding its rural soul to be in the limelight.
It has done this in accord with a community, which has
even hidden its nature, thus relegating the most authentic
Lambrusco to farmer families’ habits. That is the reason why
Lambrusco’s history is still authentic, plausible and thanks to a
rare naturalness, it becomes story and discovery. Lambrusco
is the emblem of an area, which reclaims its deepest identity
and tries to ritualize it by involving memory and , above
all, an extraordinary cuisine. It is no coincidence that
many people, especially in the historical production areas,
recognized their value after having been abruptly surprised
by what they perfectly knew. Therefore, Lambrusco’s
contemporary contribution is a story, finally passing through
production areas and regaining the connection to the land;
connection, which gives it a special, popular and high
identity. This is the innovative element rendering this wine
incomparable, since it is able of being among people and
of sharing the taste of Emilian cuisine: extraordinary and
popular, very refined and common, activist and engaged
in recounting landscapes which are marked by wintry fogs
and scorching summer days. To understand Lambrusco one
should travel and sense these two extremes, go for several
kilometers and meet people... One should enter an everyday
life which remained true to its traditions over the centuries.
This is the only way Lambrusco’s story becomes complete
and those landscapes – little hills, canals, river banks of the
vally, bricks of cities – reveal themselves in the glass. They
are hidden but one can rather learn to see them. They are at
hand but one has to learn to look for them.
At that point, the endless multiplicity of areas and grape
varieties becomes clear too and the word Lambrusco
identifies a world of differences and nuances, of men’s and
community’s stories, of landscapes not everyone has learned
to understand.
The connection to the land is the extra weapon recovered
from the past and the opportunity of being included in a
community capable of hidden celebrations in the area’s
legendary fogs. Moreover, the community does protect a
supply chain that , for its variety and quality, is unique in
the world and was obstinately passed from generation to
generation. As Alessandra Meldolesi says, it is a machina
memorialis where the Memory creates a biography, from a
producer to the next one and backwards until one is able
to. And with Lambrusco the supply chain does go back to
such an extent that it enriches the the present moment with a
family of “sour” grapevines, different from all the other ones,
unique and undoubtedly inimitable.
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LAMBRUSCO
A SPARKLING PHILOSOPHY
CARLO
GUTTADAURO
Art Director - Photographer
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Dreams of vine
I have seen two areas merging in a dream. Connected by
Lambrusco rather than by politics, by land and the Secchia
river rather than by agreements: two passions that caused a
flash by touching each other
This flash has become a fire over the time, an increasing
symphony.
An interaction between pungency and arpeggios, between
choreography and performance.
“The moment one definitely commits oneself, then
Providence moves too”, told Goethe.
I tried to represent the philosophy animating this heavenly
ferment (every philosophy originates from a wonder’s short).
By looking into it, I have discovered other worlds.
It implied a caesura in my previous knowledge to go
through less known paths: a sentimental trip.
From the roots to the bubbles looking for points of connection
between beauty and truth.
After a careful look at each Lambrusco bottle’s cork, one
finds the memory of an ancient rhythm capable of winning
over the present. Like a sparkling philosophy.
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A ROAD TERRITORY
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LAMBRUSCO
A SPARKLING PHILOSOPHY
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PRODUCERS
CHIARLI 1860 – Pr.I.V.I. Srl
Via Manin 15 – 41122 Modena
[email protected]
www.chiarli.it
LAMBRUSCO
A SPARKLING PHILOSOPHY
Credits
www.lambrusco.net
Marketing Management Consortia:
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SAVINA RE
per ANAM CARA COMUNICAZIONE
Project:
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Graphic format:
Thanks to
With genuine gratitude to the
winemakers and wineries of
Modena and Reggio Emilia that with
determination and professionalism
produce Lambrusco.
CANTINA SOCIALE FORMIGINE PEDEMONTANA Società Agricola Cooperativa
Consorzio
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Art direction and photography:
CARLO SINI
GIORGIO MELANDRI
ERMI BAGNI
CARLO GUTTADAURO
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PRODUCERS
PRODUCERS
Consorzio
Tutela Vini Emilia
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[email protected]
www.cademedici.it
Via Roma 118 – 42047 Rolo (Re)
[email protected]
www.cantinarolo.it
CANTINA SOCIALE DI GUALTIERI Società Cooperativa Agricola
Via S. Giovanni 25 – 42044 Gualtieri (Re)
[email protected]
www.cantinasocialegualtieri.it
VINICOLA DECORDI DEL BORGO IMPERIALE – CORTESOLE Spa
Via delle Brede 6 – 26045 Motta Baluffi (Cr)
[email protected]
041
www.decordi.it
LAMBRUSCO
A SPARKLING PHILOSOPHY
ERMI
BAGNI
Director consortia
A common destiny
Everything is played on the conscience, a war between
faith and uncertainty in the art of producing wine.
How else could we define the vibration of a vine grasped
in a whisper and in a high note, never separated from the
emotional and gustative melody coming from tasting.
The will to power, to energy are written in the destiny of
an exquisite, essential and fragile wine, nearly devoid of
tannic structure.
A red sparkling wine: Lambrusco’s dual soul. The
dawn mixed up with the setting sun and vice versa. The
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transfiguration from a state of existence to a different one.
The effervescence of present: the contemporary outburst of
Lambrusco, which is presented in its different declinations,
from a refermentation in the bottle to the care for details.
Elements, which have determined a refined evolution of its
production, thanks to the method Charmat Martinotti.
Lambrusco is like true passion: it does not reveal its name
to whom is not able of discovering it in the suggestions of
its ruby, red nuances one can get from author photographs.
Lambrusco tells the story of an area and describes
immediately its protagonists.
The protection and promotion consortia of Modena and
Reggio Emilia: a set of wine companies sharing with
commitment and dedication the fate bounded with the
designations of origin that have reinforced Lambrusco’s
success and fame in the world.
Seven denominations, one for each day of the week:
Lambrusco di Sorbara, Lambrusco Salamino di Santa
Croce, Lambrusco Grasparossa di Castelvetro, Lambrusco
di Modena, Lambrusco Reggiano, Lambrusco Grasparossa
dei Colli di Scandiano e di Canossa, Lambrusco dell’Emilia.
For a great Lambrusco: our land, the grapes’ selection,
the use of endogenous yeast only, the listening of natural
refermentation to maintain grape harvest’s aromas and
fragrances. And here are the ingredients: passion, precision
and balance.
... RESTART
LAMBRUSCO
A SPARKLING PHILOSOPHY
www.lambrusco.net
www.vini.reggiani.net