images de mon petit « musée » des bouteilles que j’ai bues et aimées
images de mon petit « musée » des bouteilles que j’ai bues et aimées
Un reportage a été fait sur ma cave et sur mes dîners par un journaliste de Vice.com un site très éclectique. Voici le lien (les deux adresses conduisent au même article) :
A lire sans modération !
En regardant une vidéo sur Youtube, j’ai vu toute une série de vidéos qui ont été faites avec moi.
En voici quelques-unes, à regarder sans modération :
Interview François Audouze collectionneur de vins rares (1ère partie)
Interview François Audouze collectionneur de vins rares (2ème partie)
La méthode François Audouze pour ouvrir de vieux vins (Ophélie Neiman)
Uncorking wines with Francois Audouze (Asian Palate)
Jim How interviews Francois Audouze (part 1) James Howaniec
Jim How interviews Francois Audouze (part 2)
François Audouze : l’émotion des vins anciens (Ophélie Neiman)
François Audouze et la modernité (Ophélie Neiman)
Une bouteille de vin jaune de 1774 vendue 57000 euros
ITV françois audouze – percée du vin jaune 2010 (Christophe Menozzi)
s’il pleut, si le film à la télé ne vous branche pas, lancez une de ces vidéos !
The article and the video on Men’s Up.
The article is in French, but here is the text of what is presented :
Francois Audouze has an eye that sparkles, assuredly this man is happy. We are in one of those beautiful Parisian houses he likes, the Taillevent. He is a little home here, as he is with many other great chefs with whom he has worked for years to develop his outstanding Wine dinners.
The principle ? Ten guests, a sumptuous dinner and ten old wines – even very old ones – coming from his cellar. He is expecting his guests this evening for the 205th edition of his « Wine Dinners », opening the bottles to be tasted this evening: Château Haut-Brion 1979, Corton Blanc Jacqueminot 1919, Vosne-Romanée Antonin Rodet 1947, Gevrey Chambertin Maison PhilippeJarrot 1947, Clos Gamot Cahors 1893, Châteauneuf-du-Pape Chartron 1928, Chateau Gilette 1945, Chateau Filhot 1928 … Evidently we do not talk about the champagnes that will be opened as an aperitif. All these bottles come straight out of François Audouze’s cellar. A cellar as there are few, a cellar that defies superlatives. « It is an old wine cellar, » explains François Audouze, « it is essentially French and has of nearly evry vintage. There are between 35,000 and 40,000 bottles, and for those over 50 years of age, there must be about 10,000 « . Almost 8,000 lines of cellar, François Audouze does not take the exact account. « I have no ambition to have the largest cellar but I probably have the most diverse. »
François Audouze is an autodidact of wine, a collector by chance. If the cellar of this old industrialist has nowadays bottles as old as rare, it is by grace of an encounter with a wine. « I started entering wines in my cellar in 1970. At first I knew absolutely nothing about it, it was by fumbling and asking the advice of my wine merchant that I started. One day a friend talked about a grocer who was opening some crazy bottles on the Friday night after the office, and I said, « Well, we’re going! « It was with the blind tasting of a Climens of 1923 that everything began: » I almost fell backwards, « says Audouze, » it was so much more complex than anything I had tasted. It was then that I knew that my way was the old wines. «
For François Audouze, the doors of a world are opening up. The impetuous youth loses its attraction in the face of the subtlety of a wine polished by time, which reveals itself with delicacy. Contrary to popular belief, a wine does not die. Finally not always. « Everyone is convinced that a wine dies, and Robert Parker has reinforced this idea with his concept of a maturity plateau when it is completely false, the proof is that my greatest white wine is a Montrachet from 1865. So where is the maturity of this wine? Death comes mainly from the cork, and as soon as the cork no longer plays its role, there is evaporation and denaturation of the contents. François Audouze, if he is now known as a collector, does not quite recognize the logic that traditionally prevails in the elaboration of a collection: he follows his intuition more than his reason. « These are just buying led by my heart. Everything I buy is made to be drunk, not to be stored. »
Few people can boast of having tasted wines as old and as many vintages: 174 to be precise. François Audouze’s record includes more than 14,000 wines, discovered on the occasion of meals, which he records every detail on a blog with lyrical and loving accents. No one, it is said, writes as well on wine. The man is above all an Epicurean. It is only to see with what delight – even jubilation – he observes, hume, savors and speaks of what he eats or drinks to understand that for him, the good bottles are made to be opened and especially shared. The circle of friends no longer enough, he created the « Wine Dinners ». « Having a lot of wines, I created a structure that sells dinners. It’s not for profit, but for people to have access to my wines, » explains François Audouze. « It is not a tasting, it is a meal, the recipes are made to go with my wines, there is a quest for perfect food and wine, my role is to tell people to forget everything of what they have been drinking before. « It is a new experience, instead of judging, they will try to understand. »
For this 205th dinner, François Audouze teamed up with chef Alain Solivérès. Both men are used to working together. Dinner will start with two champagnes, a Lanson of 1971 and a Salon of 1988 on a Gillardeau oyster in sea water jelly. Dinner will then be placed under the sign of the hunt: bar of line, pheasant, roasted pigeon And hare with a spoon. « The chief must have the humility to put himself at the service of the wine. To go with the old wines, it is necessary to simplify the recipes. » Whether it is the choice of wines or recipes, everything comes from a game of subtle correspondence. « When I create a dinner, I am like the painter who creates a painting, every dinner is a creation of the moment. And there is always a coherence: two champagnes, two dry white wines, two Bordeaux, two burgundies and ends up with two sweets. » Famous labels and more modest wines come together without complex. The dean, a Cahors Clos de Gamot dates from 1893. A canonical age that would have earned him a probable death if François Audouze had not opened it according to a method perfected by his care. « If I did not invent it, I have largely contributed to make known the method of slow oxygenation.If one oxygenates extremely quickly a wine, as when one carafe it, one will kill it. Wine is opened and is left alone for four to five hours, there will be a slow oxygenation work that will eliminate the small olfactory impurities, evaporate the bad molecules, and all of a sudden you will have an opulent wine ready to drink. Beyond 25 years, I recommend that you open a wine for four to five hours before and do not touch anything. «
A little intimidated at their arrival, the guests quickly take the game. Whether you are a connoisseur or a simple curious epicurean, François Audouze makes no distinction. He takes his guests by the hand following a true ritual, to the discovery of this world that he made his own. He gives them before the beginning of the meal some precious advice to make the most of the dinner « We drink slowly, we eat slowly. » If you swallow your glass or your dish all at once, you will have little opportunity to see the relevance of the combinations that we wanted to offer you. François Audouze: « We do not judge a wine, we try to understand it, we are humble in relation to wine. » And he concluded with a broad smile raising his glass: « The last rule: we are here to have fun! »
Un très joli reportage fait dans ma cave et à l’occasion d’une de mes dîners.
Ce document est très complet et donne bien l’atmosphère des événements et des lieux.
A regarder sans modération
Il convient de garder la tête froide, mais quand même…
Aubert de Villaine, gérant du domaine de la Romanée Conti m’avait adressé des lettres de compliments, lors de la parution de mon livre sur le vin, lors de mon 500ème bulletin et en d’autres occasions.
Ces lettres privées restent privées.
Mais là, cette vidéo très courte (1’22 ») peut être vue.
Je ne suis pas dupe, car ce compliment n’est pas justifié, même si Aubert de Villaine est tout sauf flatteur.
Mais ça fait plaisir quand même.
Il faut mettre le son très fort pour bien entendre.
Bon, il faut garder la tête froide, mais c’est quand même un cadeau inouï qui m’est fait.
Le 1er film parle de la « méthode Audouze » pour ouvrir les vins, qui est essentielle pour que les vins se présentent idéalement au moment du dîner
le film 3 sur la philosophie des dîners explique pourquoi les dîners ont la forme que j’ai choisie
le film 2 raconte le 200ème dîner
le film 4 donne quelques témoignages des participants du 200ème dîner
ces quatre films donnent une bonne idée sur ce que sont les dîners de wine-dinners avec les vins de ma collection
I took the occasion of the 200th dinner to make small films about some subjects like the method of opening old wines, the philosophy of my dinners and so on.
The film 1 shows the « Audouze method » which is crucial to have the old wines showing their best.
The film 3 explains why I chose the format of my dinners
The film 2 shows the 200th dinner
The film 4 gives some testimonials of participants of the 200th dinner
The pictures have been taken in chateau de Saran where the 100th dinner of wine-dinners was held.
There was a photographer who took these pictures. It is an opportunity to explain my method to open old bottles.
The pictures below show the tools that I use, consisting mainly in normal corkscrews used by sommeliers, and in long spirals which are the inside tool of manual screwpull.
When you pull out the upper part of the capsule, remember that some capsules (here Pétrus 1953) are pieces of art. Think of keeping them as a memory
I use the sommelier corkscrew to lift the cork by only 2 to 5 millimetres. You can see on the right the two spirals on the table.
It is important that the spiral stays in the centre of the cork. Turn it slowly. It will go inside the cork and the end of the spiral will go further, but will not touch the wine.
Jean Berchon, the director for communication and estates of the Moët & Chandon Group looks at me with a great attention
Once again, quietness is required
These pictures below are very important, as they show how I use my hands to lift, having only my left hand to help the right hand to pull. The right thumb pushes hard on my left hand, and my other fingers make a lateral move to pull.
While pulling on the cork of Pétrus 1953, I show that the cork will break into pieces and I will try to lift every piece. Which I did !
This tool called “ahso” (in French : “bilame”), is something that I do not use, because I am confident in this method of lifting in two times : 2 to 5 millimetres with the sommelier’s corkscrew, and then lifting the cork with a spiral.
The second spiral is ready to be used if, by lifting some pieces stick to the glass. They will come when they are pulled extremely slowly.
One could think : is it so important to work so carefully, with these two steps. Let us have a look.
I was not able to take the upper part of the capsule of Pétrus 1953 complete.
This is Margaux 1959
This is Romanée Conti 1972
Not the slightest piece of cork fell in the wine for each of the wines opened with this method.
ils sont utilisés de droite à gauche : couteaux pour couper les capsules, limonadier pour soulever le bouchon de quelques millimètres, longues mèches pour tirer les bouchons et les trois fins crochets pour retirer les morceaux non levés qui collent au goulot.
mes outils initiaux
le tirebouchon de gauche ne sert que pour enlever la capsule, avec éventuellement l’aide du couteau
les deux limonadiers classiques soulèvent les bouchons de quelques millimètres
les deux longues mèches soulèvent lentement le bouchon. Il y en a deux car parfois il faut intervenir très vite si le la première ne lève que des morceaux
les deux outils de droite servent à réparer les dégâts éventuels