Now that a new book on Long Island wine by Eileen Duffy has been published as of April 2015, it seems appropriate to review all of the books on the subject that have come out since 2000. These are presented in order of publication:
Vital–thanks to its clear, lucid writing and very useful history and background of the region’s viniculture and winemaking–is the excellent if outdated Wines of Long Island, 2nd edition (2000) by Edward Beltrami & Philip E. Palmedo. It includes profiles of many of the most important personalities in the LI wine world (as of 2000), descriptions and reviews of wineries and their wines and a generally judicious insight into the trends and achievements of the region as of the end of the 20th Century. Definitely worthwhile owning, if you love LI wines, though it has long been out of print. It is still available through Amazon. (NOTE: It is currently being brought up to date by this writer, with elements from the series on Long Island viniculture and wine in this blog being incorporated into the book. It is expected that the 3rd edition, to be published by SUNY Press, may be out by September 2017.)
Louisa Thomas Hargrave wrote a gracious memoir, The Vineyard: The Pleasures and Perils of Creating an American Family Winery (2002). One cannot begin to understand what was involved in creating the Long Island wine industry without reading this charming and touching account of the establishment of Long Island’s first winery, Hargrave Vineyard, in 1973, when there were only small farms and potato fields. It is charming in its modesty, touching in its honesty, and a remarkable tale of what it takes to start a vineyard from scratch when you don’t even know what you’re doing! And look at what it started–a whole industry that is one of the dominant features of the East End of Long Island, begun with passion, commitment, and hard work, but ultimately at the cost of heartbreak and renewal. Now out of print, it is still available on Amazon or AbeBooks. Some used copies are available for a penny plus shipping from various book dealers.
An interesting and somewhat chatty book is The Story of North Fork Wine: Historical Profiles and Wine Country Recipes (2009), John Ross’s up-close-and-personal look at the people who work in and run the wineries. A chef who owned Ross’s North Fork Restaurant, he became close to many in the wine trade, especially given that he was interested in devising recipes and menus that would best accompany the wines of the region. The first half of the book is comprised by his personal profiles, which include everyone from owners to winemakers to vineyard managers to tasting room personnel. The second half is devoted to recipes from his restaurant and suggested wine pairings. In the intervening years since the book was published many of the persons featured in the book have moved on, but many of their stories remain relevant even now. Also out of print, but it can be found on Amazon.com.
Long Island Wine Country: Award-Winning Vineyards of the North Fork and the Hamptons, is well-illustrated guide to visiting Long Island vineyards and wineries. Written by Jane Taylor Starwood, editor-in-chief of Long Island Wine Press, she gives us an insider’s track on the owners, the winemakers, and the wineries themselves. In a conversational tone (and amply illustrated), the book leads the reader from East to West on the North Fork, and then down to the Hamptons, as though the route would be followed by visitors travelling by car. It’s a bit frustrating an approach if one wants to do research and would prefer an alphabetical organization, but it’s a quibble given the overall quality and usefulness of the book, which is still reasonably up-to-date as of 2015, given that it was published in 2009. One should bear in mind though, that already important personnel changes have taken place: Richard Olsen Harbich left Raphael in 2010 and went to Bedell Cellars, Anthony Nappa is now Raphael’s vintner, Kelly Urbanik Koch is winemaker at Macari, and Zander Hargrave, who was assistant winemaker at Peconic Bay Vineyards, is now at Pellegrini; Peconic Bay has closed its doors. A new, major winery, Kontokosta Vineyards, opened in June 2013 in Greenport; Southold Farm and Corwith Vineyard are brand-new startups as of 2014.
The most recent contribution to the story of Long Island wines is Eileen Duffy’s book, Behind the Bottle: The Story of the Rise of Long Island Wine (2015). This is a book that focuses on the winemakers and their wines. In fact, the conversations that Duffy had with the winemakers as they discussed their wines in considerable depth, give the reader the clearest sense possible of what the winemakers look for and try to achieve with their wines. It makes for fascinating reading. Unlike John Ross, who tried to include anyone whom he knew that was in the business, Duffy’s book includes interviews with just 16 of the region’s winemakers, including Louisa Hargrave, who still has a few bottles of her 1993 Cabernet Franc, still aging, still drinkable, and from a very great year for Long Island. My favorite conversations, due to the great detail with which the winemakers discussed their craft, include one with Roman Roth, who talks about his 2008 Merlot as though he were painting a portrait of a lover.
Louisa Thomas Hargrave is the doyenne of the Long Island wine business, having established the very first wine vineyard, Hargrave Vineyard, in 1973 with her (then) husband, Alex Hargrave. They were true pioneers, determined to plant vinifera grapes where they had never successfully grown before, even in the face of well-meant advice against taking on such a risky venture. Neither of them had ever farmed until they planted the vineyard.
At the time she was a recent college graduate, having gone to Harvard, earning her BA in Government at Smith, and thence to Simmons College to earn a MAT (Masters of Arts in Teaching). But she and Alex had caught the wine bug, and became seriously interested in starting a vineyard and winery of their own, with the idea of producing quality wine from V. vinifera grapes in the styles of Bordeaux and Burgundy. Consequently, Louisa next went to the University of Rochester to study Calculus and Chemistry, and further studied the latter at Stony Brook University with the idea that she could apply what she had learned to the making of wine.
Louisa & Alex Hargrave, 1975
After planting vines of Cabernet Sauvignon, Pinot Noir, and Sauvignon Blanc in the original 17-acre field of the old potato farm that had become Hargrave Vineyard, Louisa went to the Cornell Cooperative Extension program to earn a Certificate in Land Use Planning in 1974, an ongoing interest of hers as Suffolk County and New York State developed new laws and regulations that had an impact on her ability to farm. By 1998 Louisa had been awarded a Doctor of Science, honoris causa, from Dowling College, in recognition of her contributions to viticulture in Long Island.
Between the very solid academic credentials that Louisa has earned over the years and the deep and long experience of establishing and maintaining a vineyard for twenty-six years, as well as making wine and running a successful winery, Louisa has perhaps the most sound credentials of anyone in the Long Island wine world. Furthermore, after selling Hargrave Vineyard in 1999, when she and her husband agreed to separate, she went on to establish Winewise LLC, a consulting firm for the wine industry. She was director of the Stony Brook University Center for Wine, Food, and Culture from 2004 to 2009, and is continuing to work as a writer on the subject of wine, viticulture, and winemaking for various publications, including her own blog, www.vinglorious.com.
Louisa has also written a well-received memoir, The Vineyard: The Pleasures and Perils of Creating an American Family Winery (Viking/Penguin, 2003), about the joys and challenges of running a family winery and vineyard. Earlier, in 1986, she had contributed an essay, “The History of Wine Grapes on Long Island,” to the Long Island Historical Journal. Most recently she wrote about the terroir of Long Island in an article for Edible East End, “The Dirt Below our Feet.”
Given those credentials and that experience, I cannot think of a better-qualified person to speak to about some of the issues bearing on the viniculture of Long Island. To meet Louisa is to encounter someone who is direct, forthcoming, very well-informed, and definitely opinionated. She is petite, bespectacled, and wears her silver hair long. She has no pretensions or airs, but she does not suffer fools. Given her high profile in Long Island, she frequently has requests from schoolchildren or their parents for an interview so that they can write a paper for school. Her response is simple: “When you’ve read my book, The Vineyard, get back to me and we can talk.” So far there have been no takers.
Fortunately for me, I had read The Vineyard, so that made getting my interview with Louisa that much easier.
Louisa initiated the conversation by making the point that there are two types of wineries in Long Island: those that cater to the tourist trade and those that focus on making quality wines. (Several do both, but most emphasize one or the other). Of the top quality wineries, she cited Bedell Cellars, Channing Daughters, Lenz Winery, Paumanok Vineyards, and Peconic Bay Vineyards. Given that all of the Long Island wineries depend on retail sales for a major part of their income and nearly all have tasting rooms for the wine tourists who are a significant part of their business, I inferred from what she said that some of these wineries seek to attract tourists and tourist groups with large tasting rooms, provide access for buses, and offer space for parties, weddings, and so on. While some of these are serious about their wines, such as McCall, The Old Field Vineyards, and Pellegrini, a handful is really focused on the tourist trade, perhaps to the detriment of the wines they make—good enough for the tourists, but certainly not world-class.
One way to judge a winery is by looking at their containers—the smaller the container, such as an oak cask (typically of 225 liters, the size of Bordeaux casks) the more serious is the winemaking, as it costs more time and work to manage. Large containers tend to be used for large-scale production and do not allow for the blending of batches for refining the way the wine tastes and smells the way that small ones do.
She also made clear that there is a fundamental difference between vineyards that seek to grow the highest quality fruit possible by practicing ‘green harvesting,’ which means removing bunches of fruit in the middle of the growing season—sometimes as much as third to a half of the developing crop, in order to improve the quality of the fruit that remains. The result, of course, is a smaller crop, but wines made from such fruit will be richer, more flavorful, more interesting. This will not be true of vineyards that primarily grow and sell their wine grapes to wineries. These vineyards seek to maximize their grape production, as they sell grapes by the ton and they would receive nearly the same price regardless of whether or not they practiced ‘green’ harvesting. In this case, quantity trumps quality.
I had a few prepared questions for Louisa, to wit:
When you started your vineyard there was no concept of ‘sustainable’ viticulture, although ‘organic’ and Biodynamic agriculture was already being practiced in some places. Was there a point at which you and Alex decided to move towards sustainable viniculture, and if so, how did you go about it?
“Ecology was very much a part of the vocabulary when we planted our vineyard, and we had stayed at an organic farm some years before. Still, it was fungicides that made it possible for us to plant V. vinifera vines in our vineyard. Historically, those who had attempted to grow these European wine grapes had failed because they had no tools to combat the fungi and other pests indigenous to North America. We recognized that techniques like grafting and amendments like copper sulfate and other fungicides developed after 1870 now made it possible to successfully grow these plants that previously had not survived here. We also perceived that cold-sensitive vinifera might survive on the North Fork of Long Island, due to the moderating effects of the Gulf Stream and Peconic Bay, when they had failed to survive in the more continental climates of other parts of the east coast.
“We even planted some Pinot Noir and Sauvignon Blanc on their own roots, because the sandy soils of Long Island made it difficult for root pests (like Phylloxera) to establish themselves. Nevertheless, we really didn’t want to use sprays except to the extent necessary. Although we did use herbicides at times, when weeds became excessive, we always tried to control them mechanically (which usually meant hand-hoeing and weed pulling in areas that the side-hoe on the tractor could not reach). Late sprays before harvest can affect fermentation, so we did not use fungicides after mid-August. The fact of the matter is that wrestling wine to the ground is very, very complex.
“We embraced the estate approach from the very beginning—in other words, our wines would be made only from the grapes that came from our vineyard, as is the case with Bordeaux chateau. In later years, we did purchase some fruit for our second label, Chardonette, in order to be able to offer a less-expensive, entry-level wine.
“Our wines were made with no residual sugars; malolactic fermentation was complete in all our wines, and we applied minimum sulfites—none at crush time—because we did not want to destroy the indigenous microflora. The natural acid in wine, at a pH lower than 4.0, makes it impossible for bacteria harmful to people to survive, but some sulfites were needed during aging to protect the wines from yeast or bacteria that harm wine by creating vinegar or off-odors, especially after the malolactic fermentation, when the pH would rise to a less protective level, as high as 3.7 in Pinot Noir especially.
“I am interested in biodynamic techniques but have never practiced them. There are pros and cons to every agricultural practice. Recently, I visited a biodynamically-farmed vineyard in Champagne that was using horses to work the fields. The idea was to avoid the hardpan that can develop after running a tractor over the vineyards many times and compacting the soil, as the hardpan that results is virtually impenetrable and can harm the nourishment of the vines. However, the vintner who showed me the horses commented that, while using horses was good for the soil, it was not good for the horses—the soils were so dry that the horse could go lame. That, then, is not really a good option for sustainability.
“With respect to Biodynamic sprays I should point out that these need DEC [Department of Environmental Conservation] approval, as does anything that is applied to crops. All must have a seal of approval and licensing from the DEC. DEC guidelines are not always clear and are subject to change without notice. Because the DEC is funded by fines levied against farmers in violation of their guidelines, it behooves its inspectors to find violations and levy what can be very heavy fines. It’s a real problem, and it has to be fixed by providing financing for it by New York State. In my memoir, I describe an untoward incident we had with the DEC that illustrates how this agency has, in the course of implementing laws intended to protect the environment, veered off course in a way that persecutes unwitting and well-intentioned farmers like ourselves.”
Looking back on how you went about establishing Hargrave Vineyards in 1973, how would you start up differently as a pioneer, given what you know now? For example, would you plant Pinot Noir again, or something else? What about preparation of the soil?
First, Louisa said, “I’d start with a south-facing slope, and then I’d use compost with biodynamic elements to maintain the vineyard.” “You said ‘biodynamic’ but did you mean ‘organic?’” “No, I said ‘biodynamic,’ meaning that the soil amendments would reflect the concept of the farm as a unified system of life forces, cycling between times of birth, growth, fruition, decay, and rebirth.”
We had discussed Biodynamics at some length, and Louisa said that she agreed with other viniculturalists, like Sam McCullough and Kareem Massoud, who think that some aspects of Biodynamics may actually work, though it may not need all the mystical components to be effective. While she does believe that there can be something that could be called “energy” in wine, perhaps due to the level of acidity—it has to do with what makes the wine appealing, or exciting, or perhaps there’s something else to which people respond when they drink it. Whether or not there is some kind of cosmic energy that comes from the planets and the stars, or that has to do with affinities between horns and earth or anything like that. It may very well be that the biota that is in the compost teas is really healthy for the vines. [As an aside, I would like to note that that this has not been borne out in any scientific tests that I know of, but it’s clear that even viticulturalists who would not seek to enter the Demeter program for Biodynamic Certification are open to the possibility that the compost teas have some efficacious attributes.]
Louisa further remarked that, “although growing and making wine from Pinot Noir proved to be most challenging, I would do it again. I learned more from my efforts to ripen this “heartbreak grape” and to tame its hard tannins than from any other variety. Success with it is not assured, but when it comes, it makes extraordinarily wonderful wine on Long Island.
Do you think that the Cornell VineBalance program has made a real difference in the vinicultural practices in LI? It doesn’t have many actual members—about six, I believe.
“The VineBalance program only has a few members because participation requires detailed record-keeping and a lot of paperwork, which are time-consuming and costly. This doesn’t mean that VineBalance isn’t important to the rest of the vineyards. It provides all kinds of guidance. Vineyard managers can and do take courses on sustainable viniculture, including pesticide use, which requires certification. Cornell provides many seminars and brings experts from other regions here to discuss many aspects of viticulture, including organic interventions and sustainable practices. So VineBalance, under the direction of Alice Wise at the Cornell Agricultural Extension station in Riverhead, does play a significant role in the viniculture of Long Island.”
Louisa concluded our conversation by saying, “Agriculture in Long Island must be kept alive, even if eventually grapes may have to give way to cabbages. That’s fine, as long as the farms remain.”
With that remark, Louisa speaks in a way that is characteristic of her and her deep commitment not only to growing wine, but sustaining agriculture. The East End is a beautiful area, and the North Fork still retains a quality of the bucolic and rural thanks to its working farms and vineyards. The Hargraves sold development rights to their vineyard to the Suffolk County Land Trust years ago. That is also part of her commitment. Long Island owes her many thanks for all that she’s done and continues to do.