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JWE Volume 9 | 2014 | No. 1

Journal of Wine Economics Volume 9 | 2014 | No. 1

Editorial: Introduction to the Issue

AAWE
Pages: 1-2
Full Text PDF
Excerpt

The first paper, “The Rise and Fall of the World’s Largest Wine Exporter—And Its Institutional Legacy” by Giulia Meloni and Johan Swinnen, provides a lesson in economic history. It analyzes the spectacular rise and the subsequent dramatic decline of the Algerian wine industry during the first half of the 19th century. Fostered by the spread of phylloxera and heavy tariffs on Spanish and Italian wine imports into France, Algeria’s wine production—which was almost non-existent in the 19th century—soared and Algeria became by far the largest wine exporter worldwide. During the mid 1930s, more than two-thirds of the world’s wine exports came from Algeria, a former French colony. However, in subsequent decades French wine regulations and especially the Algerian independence in 1962 con- tributed to a dramatic downfall. As a result, Algeria’s wine industry virtually disappeared in the 1990s.”

The Rise and Fall of the World’s Largest Wine Exporter—And Its
 Institutional Legacy

Giulia Meloni & Johan Swinnen
Pages: 3-33
Full Text PDF
Abstract

This paper analyzes the causes of the rise and the fall of the Algerian wine industry. It is hard to imagine in the twenty-first century global wine economy, but until about 50 years ago Algeria was the largest exporter of wine in the world—and by a wide margin. Between 1880 and 1930 Algerian wine production grew dramatically. Equally spectacular was the decline of Algerian wine production: today, Algeria produces and exports little wine. There was an important bidirectional impact between developments in the Algerian wine sector and French regulations. French regulations had a major impact on the Algerian wine industry, and the growth of the Algerian wine industry triggered the introduction of important wine regulations in France at the beginning of the twentieth century and during the 1930s. Important elements of these regulations are still present in European wine policy today.

A Barrel of Oil or a Bottle of Wine: How Do Global Growth
 Dynamics Affect Commodity Prices?

Serhan Cevik & Tahsin Saadi Sedik
Pages: 34-50
Abstract

This paper explores empirically the causes of extreme fluctuations in commodity prices from January 1990 to June 2010 and seeks to identify the relative contribution of advanced and emerging market economies to the changes in commodity prices. Our assumption is that analyzing two very distinct goods—crude oil and fine wine—helps to identify common determinants of commodity prices. We find that the growth rate of global aggregate demand is the key macroeconomic determinant of the fluctuations in both crude oil and fine wine prices over the sample period. While advanced economies account for more than half of global consumption, emerging market and developing economies make up the bulk of the incremental change in demand, thereby having a greater weight in commodity price formation. The coefficient of emerging market industrial output growth is about three times as high as that of advanced economies in oil price regressions and almost five times as powerful in fine wine price regressions. The results also show that the shift in the composition of aggregate commodity demand is a recent phenomenon.

The Changing Size Distribution of California’s North Coast Wineries

Don Cyr, Joseph Kushner & Tomson Ogwang
Pages: 51-61
Abstract

In this paper, we use three different goodness-of-fit tests for log-normality in conjunction with kernel nonparametric density estimation methods to examine both the size distribution of California North Coast wineries over time and by age. Our kernel density estimates indicate that the size distribution of wineries has changed from positively skewed to bimodal. These results are inconsistent with those in other industries, but are consistent with recent empirical research in the wine industry, which finds that smaller firms are comprising a larger component of market share. In terms of the distribution of firm size by age, our results indicate that as wineries age, the size distribution of firms becomes less skewed and more bimodal, which is also inconsistent with the research on other industries which finds that as firms age, the size distribution becomes more normal. Our results indicate that unlike other industries, where entry is very difficult, small firms can enter the wine industry and survive.

Criteria for Accrediting Expert Wine Judges

Robert Hodgson & Jing Cao
Pages: 62-74
Abstract

A test for evaluating wine judge performance is developed. The test is based on the premise that an expert wine judge will award similar scores to an identical wine. The definition of “similar” is parameterized to include varying numbers of adjacent awards on an ordinal scale, from No Award to Gold. For each index of similarity, a probability distribution is developed to determine the likelihood that a judge might pass the test by chance alone. When the test is applied to the results from a major wine competition, few judges pass the test. Of greater interest is that many judges who fail the test have vast professional experience in the wine industry. This leads to us to question the basic premise that experts are able to provide consistent evaluations in wine competitions and, hence, that wine competitions do not provide reliable recommendations of wine quality.

The Determinants of Chemical Input Use in Agriculture: A Dynamic
Analysis of the Wine Grape–Growing Sector in France

Magali Aubert & Geoffroy Enjolras
Pages: 75-99
Abstract

This article examines the determinants of chemical consumption by French winegrowers on an individual basis. We introduce criteria relating to the structure of vineyards and the financial situation of the winegrowers. Using data from the Farm Accountancy Data Network (FADN-RICA) for the period 2002–2007 from an annual sample of 607 winegrowers, we study the different factors that encourage winegrowers to use chemical inputs to protect or increase the yield of their vines. Drawing on transversal and longitudinal analyses, we illustrate the benefits derived from differentiating the demand for inputs according to their classification: pesticides or fertilizers. Climatic variables, physical size, and turnover all act as driving forces in the decision to use chemical inputs. We show that taking out crop insurance functions as a substitute for inputs and observe a double moral hazard effect: Winegrowers who increase their insurance coverage reduce their consumption of inputs the most and receive greater compensation; among insured winegrowers, those who use the most inputs make the most claims. As wine grape growing is a consistent activity conducted over a long period, we observe permanence in patterns of use of chemical inputs.

Book & Film Reviews

A Year in Burgundy

By: David Kennard
Reviewer: Robert N. Stavins
Pages: 100-103
Full Text PDF
Film Review

Imagine driving through a lovely, bucolic setting on the road from Mâcon to Dijon through picturesque vineyards north of Chalon-sur-Sâone. You lean back to enjoy the view, thinking about the superb wines produced from these tiny, garden-sized properties by dedicated vignerons. And then your focus, your reflections, and indeed your pleasure are shattered by unnecessary chatter—the annoying verbal commen- tary delivered by your guide. That mixed bag captures the beauty, the interest, and the limitation of this new film from producer, director, and writer David Kennard, who, it should be said, has built a remarkably diverse portfolio of documentaries over his 30-year career, ranging from natural science (Carl Sagan’s acclaimed PBS series Cosmos and the superb BBC series Connections with James Burke) to the performing arts (Keeping Score, with Michael Tilson Thomas).

As academics, we are trained to lay out for the reader our theory, the facts, our analysis, and our conclusions in clear, concise language. But in creative writing, the best authors describe situations and the words and thoughts of characters, but never tell the reader what conclusions to draw or what emotions to feel. The same difference is found in dramatic films, with second-rate Hollywood movies making everything absolutely explicit, virtually telling the audience what to think and feel, while the best films provide no more than building blocks upon which members of the audience can develop their own thoughts and feelings. With documentary films, this distinction can also be key. Some of the best documentaries provide no more than pictorial, musical, and verbal inspiration, leaving the audience to come to its own conclusions (see my recent review of Somm in Journal of Wine Economics, 8(2), pp. 238–241).

In A Year in Burgundy, the narrator speaks too often and tells us too much. For example, it would have been effective to allow the film’s scenes, interviews, and conversations to inspire in the viewer the recognition that the best winemakers of Burgundy are true artisans, perhaps even artists. Instead, the narrator states flatly, as in a lecture, that “the greatest winemakers are artists.” And this is in the first minute of the movie!

The film focuses on Martine Saunier, a French-born, California-based wine importer. We follow her over the course of a challenging year (2011) in Burgundy as she meets with five client producers in their vineyards and wineries in Burgundy. When we first observe her, she is celebrated by the narrator in glowing terms, which struck me as perhaps a bit excessive for a wine importer and distributor. But I came to find the characterization particularly annoying by the end of the film, when I learned that she (together with David Kennnard) was the film’s senior producer.

Saunier’s first job after college was in marketing, and it shows. Is it unfair of me to note that we are not told in the film that Madame Saunier sold her wine- importing business, Martine’s Wines, in 2012 or that the lovely family home that has “been in her family for centuries,” where we first see her climbing into her Citroën Deux Chevaux to visit her growers, has in fact been converted to a B&B by her brother?

With Martine, we visit (from south to north): Dominique Cornin in the Mâconnais of southern Burgundy; Michel Gay and Domaine Morey-Coffinet in Côte de Beaune; and Bruno Clavelier, Christophe Perrot-Minot, and Domaine Leroy, who have vineyards in the Côte de Nuits.

The film begins in the spring, when Martine visits Domaine Morey-Coffinet with its proprietor Michel Morey, who runs the business with his son, Thibault. Michel explains, “I think no one has a particular gift at the start. As little children, we grow up surrounded by vines and wine cellars, by fathers and grandfathers who talk about wine, and the aromas and the tannins. I think that even as a little child, even if you don’t taste it, you start to get a feeling for wine quite quickly. By the age of five or six, Thibault could identify different wines by their smell.” Thibault responds, “When I was young, it was my passion. I only went to school because I had to. When I came home, I joined my parents in the vineyards and the cellars.” No narration is necessary to frame or explain the message.

As summer arrives, we travel to the best region for Pinot noir—the Côte de Nuits, north of Beaune—visiting vineyards in the hills just above Vosne-Romanée and learning about the rocky soils and unique microclimate of a small closed valley. Gradually, the incredible diversity of the terroir of Burgundy begins to emerge: 400 different wines produced in the single village of Chassagne Montrachet.

But most rewarding is the time that we spend with Madame Lalou Bize-Leroy, owner and proprietor of Domaine Leroy. At the time, she was 79 years old (or “young” in her case, as the cliché goes). She is youthful and enthusiastic, and her backstory is an interesting one, though unfortunately left out of the film. Born in 1932 as Marcelle Leroy, she established herself as a businesswoman in the Burgundy wine business in the 1950s, when she took over the négociant business of her father, Henri Leroy. Beginning in 1974, she was co-managing director of Domaine de la Romanée-Conti (DRC). Along with Aubert de Villaine, she was credited with helping to build DRC, but a series of disagreements, including apparently her displeasure at de Villaine’s involvement in the “Judgment of Paris” wine tasting, led to her ouster in 1992.

After leaving DRC, Madame Lalou focused on her family’s properties, and built the holdings, excellence, and reputation of Domaine Leroy. Like the others in the film, she is a hands-on producer, carefully supervising each and every stage of growth, harvest, and production. Listening to her speak in the film—gently yet passionately—about the lives of her vines and her absolute dedication to biodynamic farming methods, I was reminded of listening several years ago to another master grower and vigneron, thousands of miles away: Christophe Baron, the exceptionally talented Frenchman who has been producing his magnificent Cayuse wines in Walla Walla, Washington, since 1997.

About halfway through the film, it is fall, at the time of harvest. The narrator states that the harvest is difficult because of the possibility of impending rain; however, the light music accompanying this commentary does not convey tension but, rather, a carefree mood, as student pickers move through the vineyards. When the narrator announces, “There’s tension in the air,” it has precisely the opposite effect, because we as viewers have not felt the tension. What a contrast with Somm, in which the viewer clearly sensed the stress felt by that documentary’s main characters: four young men preparing for an exam to join the Court of Master Sommeliers.

Ironically, among the most beautiful scenes in the film—in terms of pure aesthetics—are the landscapes following harvest, after the grapes are gone and the leaves of the vines begin to die, going from subtle shades of yellow to bright red. These scenes, with vineyards in the foreground, the village behind, and a hillside behind, look like a painter’s intoxicant. If we squint just a bit, it is not difficult to imagine a landscape by Claude Monet before our eyes.

As winter arrives, we move from the open and public process of harvest to the closed and very private, even confidential process of wine-making. Every vigneron has his or her own methods, including a wide range of approaches just for punching down the grapes inside the vats to maximize extraction. Down in the cellars, the wines are now in barrels, sometimes topped up once per week to avoid exposure to air due to ongoing evaporation. Then comes battonage, the gentle stirring of the wine in barrels to mix the sediment with the liquid, a couple of times a week if the wine is too acidic.

Then, as scenes of automated bottling fill the screen, a winemaker laments, “Burgundy wines ought to be all different, but science now allows us to make wines that are all the same. That’s a pity—they all used to have their own character, like human beings. Progress is pushing all of us to make the same kind of wine.” This comment, which may be accurate, does not square with what we have otherwise seen and heard in the film, leaving me to wonder, has Burgundy too been “Parkerized”?

Suddenly, the scene moves 4,000 miles westward, to Blackberry Farm, an intimate luxury hotel and resort located on a pastoral 4,200-acre estate in the Great Smoky Mountains of Tennessee. An affluent group of friends meets in the wine cellar to enjoy glasses of Burgundy, including some of the same wines that we have followed during the year, albeit samples from earlier vintages. It turns out, of course, that the evening is hosted by Martine Saunier. She introduces Thibault Morey—strange to see him well-dressed and thousands of miles away from his father’s Burgundy property. Then, it’s upstairs for dinner, presumably with one of Martine’s wines paired with each course.

At the conclusion, we are transported back to Burgundy, and amid the barren scene of old vines, cloudy skies, and cold weather, the families begin to prune their vines. They burn the dead wood in the field in the midst of the rows, just as they have been doing for hundreds of years. And, as the narrator inevitably reminds us, “there are lots of things they do in Burgundy that they have been doing for hundreds of years.” In a few months, the first signs of spring will arrive, and then it will be another year in Burgundy.

A Year in Burgundy is the first in a series of documentaries on fine wine forthcoming from director David Kennard. He has just completed A Year in Champagne. I will certainly watch his new film, because I expect it to be beautiful and informative, but I hope there will be less narration, and more reliance on the film’s characters and scenes, and thereby more trust in its audience. Less can, indeed, be more.

Robert N. Stavins
John F. Kennedy School of Government, Harvard University
robert_stavins@harvard.edu
doi:10.1017/jwe.2014.5

Riesling, Robert Weil

By: Ralf Frenzel
Reviewer: Christian G.E. Schiller
Pages: 103-107
Full Text PDF
Book Review

This is a heavy book: it weighs almost 2 kilograms and unites two heavyweights— Riesling, arguably the best white grape variety in the world, and Weingut Robert Weil, one of the best Riesling producers in the world. The first in a new series of books from Tre Torri, covering the most outstanding wine estates of the world, it covers the complex topic of Riesling through the example of the top German wine producer Weingut Robert Weil. Readers should not expect to be informed about the Riesling grape variety in general, as perhaps the main title, Riesling, suggests.

More than half of the 255 pages are mostly wonderful pictures, and some text pages also include pictures. It is not only a book with a most interesting text but also one with great pictures of wine.

Weingut Robert Weil is managed by Wilhelm Weil, who owns the winery jointly with Suntory, the Japanese beverage group. With 75 hectares—exclusively Riesling —under vine, it is one of the largest estates in Germany. The estate’s dedication to Riesling has led numerous observers of the international wine world to regard Weingut Robert Weil as a worldwide symbol of German Riesling culture. A Riesling wine of the 1893 vintage, grown on the Gräfenberg site, made the estate famous. The imperial Habsburg court in Vienna purchased 800 bottles of this wine in 1900 at 16 gold marks per bottle. Weingut Robert Weil’s top botrytized wines are sold today at very high prices—they are among the most expensive in the world. Although best known for its Noble-Sweet Rieslings, Weingut Weil produces mainly fully fermented, dry wines, including ultrapremium Grosses Gewächs (Grand Cru) wines.

Five authors contributed to the book, which is divided into six chapters.

Written by Editor Ralf Frenzel, Chapter 1 is the prologue, offering a portrait of Wilhelm Weil. It paints him as a winemaker who has done a lot not only for his own estate but also for the region, the famous Rheingau, and for Germany.

Chapter 2 is a very detailed and well-researched account of the history of Weingut Weil by Daniel Deckers, against the background of the Rheingau region and German wine history. Deckers discovered the world’s oldest classification map, which was prepared in 1868 by Friedrich Wilhelm von Dünkelberg and classified for the first time the vineyards of the Rheingau.

Deckers describes the founding of the winery in Kiedrich by Dr. Robert Weil, who had lived and taught at the Sorbonne in Paris but was forced to leave France and return to Germany because of the Franco-Prussian War (1870–1871). He joined his brother August in Kiedrich and bought the first vineyards in 1870. In 1879, he moved into the former estate of Sir John Sutton, baronet, which remains the home of Weingut Weil . The first auction of his wines at Burg Crass in 1881 was a failure, but when the German emperor began buying the 1893 Weingut Weil Auslese, the Weil wines gained renown.

In 1988, the estate was sold to Suntory, and Wilhelm Weil was appointed managing director, retaining a minority ownership share.

Chapter 3, by Dieter Bartetzko, deals with the architectural ensemble of the Weil property. Sir John Sutton bought a tiny, dilapidated winegrower’s cottage in 1869 and transformed it into a small country estate in the Tudor style, which does not have to fear comparison with the original Tudor manors in Sutton’s home country of England. Thereafter, over the years, a number of new structures have been added, including the Vinothek (wine store) built with generous glass paneling that faces the courtyard, in the 1990s, and the new extension finished only recently. But the Tudor-style house built by Sutton remains the heart of the estate. The historical manor house, the ultramodern cellars and the Vinothek stand side by side in a beautiful park, reflecting the same synthesis of old and new that is in the estate’s winemaking philosophy.

Chapter 4 ostensibly comprises an interview with Wilhelm Weil, centering on the question: “What makes a great Riesling?” It is not, in fact, an interview but a lecture by Weil, transcribed by Christian Goeldenboog. There are no questions, at least no explicit ones. And it is not about Riesling in general; it is about the Riesling wines produced by Weingut Weil in the Rheingau region in Germany. Wilhelm Weil is one of the vice-presidents of the Vereinigung deutscher Praedikatsweingueter (VDP), the association of about 200 elite wine producers in Germany, and the chapter also reflects the thinking of the VDP. Importantly, the VDP is in the process of radically changing the way in which German wine is classified by moving to a classification system that resembles the classification system of the Bourgogne in France, which is terroir driven.

Chapter 5, by Goeldenboog, deals with the work in the vineyard and in the cellar and is divided into four subchapters. The first subchapter, “Riesling Has Style,” reads a bit like a continuation of Chapter 3 and has Wilhelm Weil talking about his winemaking approach and wines.

The following subchapter, “Rock, Soil, the Rheingau and the Ecosystem,” reviews the terroir of the Rheingau in general and that of the three vineyards, where Weingut Weil owns land and grows its wines—in particular, Kiedricher Klosterberg, Kiedricher Gräfenberg, and Kiedricher Turmberg.

Weingut Weil’s vineyards all belong to the group of the high-lying sites of the Rheingau: Inclination (up to 60%), exposure (southwest), and the ability of the barren stony soils to absorb heat are the factors that make for three perfect Riesling sites. These conditions, as well as ideal circulation, enable the grapes to stay on the vine for a long time, ripening well into November.

Kiedricher Gräfenberg: The soil consists of deep and medium-deep stony, fragmented phyllite partially mixed with loess and loam. At the end of the twelfth century, the site was first documented as mons rhingravii (lit., the hill of the Rhine counts), and, in 1258, it was named “Grevenberg.” To this day, Gräfenberg is a focal point. The record prices it fetches at auction bear witness to the site’s renown.

Kiedricher Klosterberg: The name Klosterberg (lit., monastery hill) derives from “Closterweg,” the old path that ran through this vineyard in Kiedrich en route between the monastery Kloster Eberbach and its mill near Eltville. The shallow to deep stony-gritty soils of the southwesterly facing site are of Devonian (colored slate) and pre-Devonian (phyllite and sericite gneiss) origin and are mixed with gravelly loess.

Kiedricher Turmberg: After the founding of Weingut Robert Weil, the Turmberg site was always considered one of the estate’s top sites, second only to Gräfenberg. The name Turmberg (lit., tower hill) derives from the surviving central tower of the former castle Burg Scharfenstein, which stands on that site. The archbishops of Mainz had the castle built on the steep crag northeast of Kiedrich in 1160. Turmberg lies on the slopes of a steep, slaty crag. Its stony-gritty soils consist primarily of phyllite mixed with small portions of loess and loam.

After passage of the wine law of 1971 and its amendment of the vineyard register, numerous traditional vineyards, like Turmberg, were incorporated into other vineyards. In 2005, the Turmberg parcel was reinstated as an individual vineyard site, measuring 3.8 ha (9.4 acres). It is owned solely by Weingut Robert Weil.

The third subchapter, “Fruit—Maturity,” talks about the 12-month vineyard cycle and dwells in particular on the issue of the optimal moment to harvest the Riesling grapes (in a northern wine region). Of course, at Weingut Weil special attention is paid to work in the vineyard. Another quality factor is the low yield, achieved by restrictive pruning, thinning out the grapes twice, carrying out a negative selection at an early stage, and a selective hand-picking process. At Weingut Weil, the harvest can be spread over a period of 8 to 10 weeks. Each row of vines can be picked over up to 17 times.

When botrytised grapes are picked, they are selected in the vineyard and immediately sorted into three different containers, depending on the degree of botrytis. The grapes are again selected berry for berry in the cellar.

The last subchapter reviews in detail the process of alcoholic fermentation, focused more on historical aspects and less on how it is done at Weingut Weil. At Weingut Weil, vinification takes place in stainless steel tanks of varying sizes (depending on the size of an individual lot) and in traditional mature oak casks (“Rheingauer Stückfass”: 1,200 liters).

Chapter 6 contains tasting notes by Caro Maurer, Master of Wine, of about 40 wines of Weingut Robert Weil, all from the Kiedricher Gräfenberg, mostly from the 1990 to 2011 vintages, ranging from ultrapremium dry Erstes Gewächs wines to luscious Noble-Sweet Trockenbeerenauslese wines.

To sum up: this is a great book about Riesling. It is not a general introduction. The book tells the story of the Riesling grape through the perspective of one of the world’s top Riesling wine producers, Weingut Robert Weil from Kiedrich in Germany. It does this with many wonderful pictures from Weingut Robert Weil and the Rheingau region, and with a number of most interesting text contributions by various German Riesling experts.

Christian G.E. Schiller
International Monetary Fund (ret.) and emeritus professor, University of Mainz, Germany
Cschiller@schiller-wine.com
doi: 10.1017/jwe.2014.6

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