The Glenfarclas distillery is one of Scotland’s most successful. What sets the distillery apart is the family that owns it and has done so for six generations. While most large distilleries in Scotland are nowadays owned and run by large drinks companies and corporations, the Grant family continues to take pride in owning Glenfarclas, seen fully through their timeless slogan: The spirit of independence.  The Glenfarclas Distillery's history The Glenfarclas story began in 1836 when farmer Robert Hay received a license to distill spirit on Rechlerich farm, Ballindaloch. In 1865, after Hay’s passing, John Grant bought the farm and the distillery along with it and it has been owned by Grant’s descendants ever since. Grant was a successful farmer, and while he continued to operate his Blairfindy farm, he
left the new site in the care of his cousin, John Smith, and his son, George Grant. Smith left Glenfarclas and John Grant died in 1889, leaving the site in the hands of his son. Sadly, he also passed soon after leaving the distillery to his widow, Elsie, and his two sons, John and George. The 1890s brought with them a whisky boom which led to an unfortunate partnership with Pattisons Ltd. While expansion was in mind, this partnership led to many hard years for Glenfarclas. Luckily, the Grants retained full ownership of the distillery after the whisky crash, and in 1913 George took full control. John retired due to ill health.  George Scott Grant followed, and led the distillery for 52 great years, until his death in 2002. Under his leadership Glenfarclas built up its name and brand image. Glenfarclas is known to have a large number of very old and rare casks in its warehouses, and this is due to
George S. Grant’s decision to supply less stock to blenders, decades before.  John L.S Grant, the current chairman, has been with the company since 1973 and succeeded his father after his passing in 2002. The sixth generation comes in the form of George S. Grant who joined Glenfarclas in 2000 and works as the global brand ambassador, introducing the world to the amazing story and liquid behind the Glenfarclas brand.  Glenfarclas single malt whisky Glenfarclas has come to be known for its old and rare releases, with huge popularity in unique markets like China and Russia, and a cult-like following across the globe. As a family-owned company, the expansion speed and budget aren’t huge, therefore, they cannot reach the global popularity of The Macallan or Glenlivet. Yet, with an amazing story and even more impressive casks, the team has managed to cement Glenfarclas as both a loved brand for
drinkers and collectors.  Glenfarclas whisky is known for its full-bodied, Sherry matured expressions. The team only releases expressions at natural colour, often at cask strength, aged for long periods. The unique still shapes and sizes, alongside the traditional ingredients and distillation techniques
add to the distinct Glenfarclas character which has led to a very strong and loyal fan base for the brand.  Perhaps, the most famous releases by Glenfarclas come under the Family Cask range, single cask releases from each year between 1952 and 2008. The ongoing series has made Glenfarclas hugely collectable as fans attempt to hunt down each and every bottle. These are bottled at cask strength, natural colour, and retail for thousands of pounds.  Beyond special releases, the core portfolio includes the 10-, 12-, 15-, 17-, 21-, 25- and 30-year-old, and 105 Cask Strength. Most of these are available at very affordable prices for such well-aged whiskies, again showing the team’s amazing warehouse management skills, unlike many brands that have low reserves of well-aged stock.  Glenfarclas's collectability Glenfarclas is becoming increasingly collectable thanks to the Family Cask range, the well-aged Glenfarclas 60 Year Old, 50 Year Old, 40 Year Old, and the famed Glenfarclas Pagoda series.  Beyond this, the distillery has a strict policy about cask trading – almost no Glenfarclas full casks make it onto the market for trading and most do not allow naming of the distillery on the labels. This practice has helped properly control how the distillery’s name is used and given the brand a more “limited” image. Glenfarclas is widely traded in auctions across Asia with strong markets including Taiwan, Hong Kong, and Japan. Some of the brand’s awards include: Distiller of the Year by Whisky Magazine in 2006 Glenfarclas 40 Year-Old: Scotch Whisky Single Malt of the Year in the 17th Annual Malt Advocate Whisky Awards 2011 Glenfarclas 12 Years Old: Best Sherried Whisky in the Single Malt World Cup 2006 Glenfarclas 30 Year-Old: Overall winner at the Australian Malt Whisky Awards in 2004 Glenfarclas LE 1968: Best Imported Whisky in the USA by the Malt Advocate Magazine in 2004 Our Glenfarclas recommendations: Glenfarclas 105  At 60% cask strength this expression brings forth the rich, fruity, spicy character of Glenfarclas at full force. Toffee and apples on the nose, spice and rich sherry on the palate, and a long,
warming finish delivers a well-rounded experience, at a very affordable price.  Glenfarclas 25 Year Old A Glenfarclas fan favourite, at a very reasonable price, the 25-year-old brings dark chocolate, fruit cake, dried fruit, and a delightful hint of nutmeg to the palate.  Glenfarclas Family Casks If aiming to collect Glenfarclas, the Family Casks are a fun and adventurous way to start. With over 40 releases you can slowly work your way up and build up your shelves with the
story of Glenfarclas through decades of struggle and success.  Explore all Glenfarclas listings or browse more Editorial 

Glenfarclas has come to be known for its old and rare releases, with huge popularity in unique markets like China and Russia, and a cult-like following across the globe. We explore the profile of the distillery to find out what makes it so special.

Glenfarclas has come to be known for its old, rare single malt whisky releases. We explore the profile of the distillery to find out what makes it so special.

The Glenfarclas team on putting family first

Glenfarclas Distillery: Family first

Each November, the wine world looks to Burgundy for the Hospices de Beaune auction. We dive into the history of this philanthropic institution, the domaine and the wines it produces

Explore the history of Burgundy’s Hotel-Dieu and Hospices de Beaune, its wine estate and the famous annual auction, the Vente des Vins

Your guide to the wines of the Hospices de Beaune

Everything you need to know about the Hospices de Beaune

Everything about Glenfarclas is venerable. For almost 200 years, the distillery with one of the most enviable addresses in Scotland has remained fiercely independent and committed to quality. Where countless others have amalgamated and joined behemoths of the industry, Glenfarclas has remained family-owned – amassing enviable stocks of aged single malt in the process. Today, the sixth generation of the Grant family maintains many traditional practices, including direct firing its stills, to produce the highest quality, full-bodied sherried Highland single malt possible. This resolution and myriad difficult decisions made by the family during times of immense hardship have led to genuine innovation and secured Glenfarclas a place as one of the most coveted and collectable names in Scotch whisky. But just how has one of the only family-owned Scottish distillers become such an icon and which Glenfarclas bottlings are the most highly sought after? The history of Glenfarclas The Glenfarclas distillery was built on the River Spey in 1836 when Robert Hay was granted a licence to distil whisky. Cattle breeder John Grant took over the farm and distillery following Hay’s death for 511 pounds and 19 shillings and leased it to John Smith who left five years later to build Cragganmore. The site passed between Grant generations until the Glenfarclas-Glenlivet Distillery Company was formed with Pattisons of Leith in the 1890s. This partnership wasn’t to last long and Glenfarclas was fortunate to weather the Pattisons Crash in 1898 that threatened to bring the entire industry down with it. The distillery has firmly remained under the Grant family’s ownership since. George Scott Grant is one of the key figures in the distillery’s long history. During his 52-year tenure, which ended with his death in 2002, George built up Glenfarclas’s name and brand image. George had the foresight to restrict the supply of stock to blenders and squirrel away stocks. This decision has proven extremely lucrative as Glenfarclas now boasts a depth of stock that few other whisky distilleries can rival. John L. S Grant, the current chairman, has been with the company since 1973 and succeeded his father in 2002. The sixth generation is represented by George S. Grant who joined Glenfarclas in 2000. George works as the larger-than-life global brand ambassador, introducing the world to the remarkable Glenfarclas story and spirit. The distillery’s fortunes oscillated throughout various whisky booms and busts. Production has increased, been scaled back, and considerable stock laid down when times were hard. Throughout all this, the Speyside distillery can legitimately lay claim to a series of firsts – it was one of the first single malts to be consistently available when others were concentrating on blends and it was among the first Scottish distilleries to open a visitor centre. It was also the first to introduce a cask-strength single malt whisky. Today, Glenfarclas operates the biggest stills in Speyside and its Highland single malt accounts for two-thirds of the distillery’s annual production – sold in more than 90 markets worldwide. Glenfarclas’s distillery character The distillery, located one mile from the River Spey, is situated on a stretch of land that boasts the likes of The Macallan,  Balvenie,  Glenfiddich and Aberlour. The distillery sources its water from the neighbouring Ben Rinnes mountains. Glenfarclas is famed for its full-bodied, Sherry-matured expressions. The distillery only releases expressions at natural colour, often at cask strength, aged for extended periods of time. The unique still shapes and sizes, alongside the traditional ingredients and distillation techniques add to the distinctive distillery character. Glenfarclas new-make spirit is only ever matured in a combination of first-fill and refill ex-Oloroso casks from the highly regarded José y Miguel Martin. John Grant makes an annual pilgrimage to the bodega in Jerez to ensure his Highland single malt will eventually slumber in the finest quality oak. To this day, all six of Glenfarclas’s stills, which are the largest in Speyside, are direct-fired. The distillery team experimented with steam heating in 1981 to no avail as the family believed the final product to be inferior and lacking its characteristic full-bodied style. The distillery is capable of producing approximately 3.5 million litres of spirit annually. Normally, two of the stills are kept in reserve, while four work around the clock. Glenfarclas single malt whiskies Glenfarclas has consistently released single malt whiskies of exceptional quality from its enviable stocks. The Grant family has more than 50,000 casks slumbering in its expansive on-site warehousing at any one time to draw from. In 2007, Glenfarclas gave the world a glimpse at its incredible depth of stocks with the first release of its highly collectable Family Casks bottlings. The series of 43 (and counting) single-cask, vintage single malts spans seven decades and is highly sought after by whisky lovers. In addition to the limited releases, Glenfarclas bottles a “made to age” core range, which includes the 10 Year Old, 12 Year Old, 15 Year Old, 17 Year Old, 21 Year Old, 25 Year Old, 30 Year Old and 50 Year Old. The distillery also produces an incredibly popular cask-strength bottling named “105 Cask Strength”. Some of the most collectable Glenfarclas bottlings Notable limited releases include the Glenfarclas 50-year-old (released in 2005) and the 175th anniversary commemorative bottling, released in January 2011. The latter was an impressive vatted whisky from casks from 1952 and five successive decades. In June 2015, Glenfarclas launched the highly collectable limited expression £511.19s.0d Family Reserve to mark 150 years of the Grant family’s ownership of the distillery. The bottling was named after the amount (511 pounds and 19 shillings) John Grant paid for the Glenfarclas farm in 1865, and came with a copy of the original bill of sale for the distillery. One of the most remarkable limited releases is the Glenfarclas Family Trunk, released in 2018. Only 60 of the leather shipping luggage trunks containing 50 bottles of 200ml single malt from the Family Casks collection, dating back to 1954, were ever produced. Today, a single trunk, available to purchase from the distillery, costs £120,000. In 2020, the distillery released another highly collectable whisky for the Spirit of Speyside Festival, which was cancelled due to the global pandemic. Each year, a member of the team chooses a spirit to be bottled for the annual whisky celebration. In 2020, the responsibility fell to the men behind the still, and The Stillmen’s Dram was born – a 10-year-old matured in a first-fill Oloroso butt, bottled at cask strength. The Glenfarclas Family Casks Collection The Glenfarclas Family Casks collection is a highly collectable series of single cask bottlings from the family’s extensive stocks. Since the first bottle was released in 2007, the Family Casks whiskies have garnered a loyal following and become a real collectors’ item. The single-cask whiskies, which span seven decades, are some of the finest expressions from each vintage since 1954. Glenfarclas Pagoda series The highly collectable Pagoda series features two of the oldest Glenfarclas whiskies ever released. The extremely limited vintage whisky bottlings are inspired by the famous pagoda kiln which was decommissioned at the distillery in 1972. Each Glencairn crystal decanter is a unique work of art. No two are exactly the same and each element – from the side graphics to the exquisite pagoda stopper – have been painstakingly crafted. The Glenfarclas Pagoda Series is available in extremely limited quantities. Only 180 bottles of the 1954 vintage Pagoda Ruby Reserve (62-year-old), and 1953 Pagoda Sapphire Reserve (63-year-old) were ever made. The outrun of The Pagoda Reserve Trilogy (1956 vintage 59-year-old, 1967 vintage 48-year-old and 1971 vintage 43-year-old) was limited to 100 sets. Browse Glenfarclas whiskies or read more Editorial

Glenfarclas is an iconic, family-owned single malt Scotch whisky producer. As bottlings from the Grant family’s impressive aged stocks become ever-more collectable, Holly Motion charts the fascinating history of this fiercely independent whisky maker

A spotlight on Glenfarclas. We explore how the traditional, independent Scotch whisky distiller became one of the world’s most well-respected names.

Exploring the Scotch whisky icon, Glenfarclas 

Everything you need to know about Glenfarclas

Old, low-yielding vines. I’ve written that phrase more times than I’d like to confess. But how much does it really mean when it comes to the quality of the wine in your glass? The 2023 vintage in Burgundy (read our full vintage report here) produced generous yields. In farming terms, that’s a good thing: a plentiful crop that restocks the cellars (and coffers). But the sheer volume of fruit (“a wall of grapes”, as Bouchard’s winemaker Frédéric Weber told us) posed its own challenge – and much of our time in the region’s cellars this year was spent diving into how they managed, or controlled, the yield. It seemed fitting, therefore, to address the topic in greater detail.  In the Old World, appellation rules will limit yields, with the yield generally decreasing as you move up the appellation system (see below a table detailing the maximum yields for Burgundy, for example). Of course, this indicates a relationship between yield and quality, implying less is better – and there is no doubt that excessive yields don’t produce fine wine. But how low is too low? There is a fashion for prizing vines that barely manage to ripen a bunch or two, but do they really make better wine than those producing a decent crop? Beyond our obsession with rarity, what are the consequences of less fruit per vine – and therefore, what does more entail? A note on measuring yield Before we get into the weeds of the matter, let’s address how we talk about yield. In the Old World, the most common measurement of yield is hectolitres per hectare (hl/ha), measuring the volume of juice or wine per hectare of vineyard area. In Champagne the standard measure is kilos per hectare and in Italy you may see reference to quintales per hectare (qt/ha or q/ha, with one quintal translating to 100kg), while in the US, producers are more likely to use tons per acre. We’ll dive further into the many variables here, but it’s worth highlighting that vine density isn’t taken into account by any of these measurements. Although a higher number of vines per hectare will generally mean a higher yield across the vineyard, the increased competition will also likely reduce the yield per vine. For this article, we have spoken to producers from a range of regions, but do note that yields are not comparable between varieties or region. Climate – with heat, sunlight and water availability, as well as the varying size of berries and clusters of any given variety, mean that there is no number that can be deemed a global average when it comes to yield. (Do look at this table compiled by the Wine Advocate’s William Kelley, comparing vine density, cluster weight and juice yields for various classic fine wine regions, to give you an idea of the differences between regions.) Given this, “high” and “low” yields aren’t equated to specific numbers here, but the concept discussed more broadly – and arguably more relevantly for those of us drinking wine rather than making it. Bearing all of this in mind, extremely approximate conversions can be made as follows: one tonne per hectare is approximately 7hl/ha, while one ton per acre is around 17.5hl/ha (Oxford Companion to Wine). Yields: how low is too low? “It’s not extreme mythology: low yields produce better quality,” Cerbaiona’s Matthew Fioretti tells me; for him, high yields risk dilution and sanitary problems – and at excessive levels, that is certainly true. But, as Myriad’s Mike Smith told me, the relationship is “not linear”. Mike Dunn (Dunn Vineyards) generally has low yields, but that’s not necessarily about concentration, he explains: it’s simply about how much they can ripen before winter hits. Up on Napa’s Howell Mountain, their poor soils and farming (avoiding irrigation and fertilisation where they can) naturally produce lower yields. He recently changed some of their Cabernet Sauvignon to cane (rather than cordon) pruning and, although they’re getting more fruit off the same vines, there’s been no loss in quality. “It’s all relative,” says Ivan Massonnat at Belargus in Anjou. He points to Saumur with its limestone soils, where producers can crop 45-50hl/ha without a problem, but on the schist soils that lie beneath his vineyards: “Forget about doing much more than 30-35hl/ha,” he says. And even that has proven challenging for him. In the seven vintages he’s produced at the estate, only two have come close to 30hl/ha, with the average around 15hl/ha, simply due to the challenges of each vintage. He’d have loved to crop more – but nature had other ideas, and vignerons have to adapt to the vintage. Massonnat explains how if you farm to produce yields that are overly low, you can end up with fruit that has high technical, or sugar, maturity, but isn’t yet phenolically ripe – leading to unbalanced wines. Smith echoes this, talking specifically about Beckstoffer Dr Crane, one of Napa’s legendary vineyards, which he finds likes to produce more – around five tons an acre (versus four in most of the vineyards he works with). He sees producers cropping to just three tons per acre there, and in warm vintages the fruit ripens too quickly for the phenolics to catch up. Philippe Bascaules – who was first appointed Estate Director at Ch. Margaux in 1990 – offers an interesting perspective, arguing that there’s no direct relationship between yield and quality. In Bordeaux in the 1970s, he tells me, yields were consistently low – 25-30hl/ha, with wines that were inconsistent. As the wines became more popular, with demand from the US in particular for the 1982 vintage, producers started aiming for significantly higher yields and chaptalizing much more. Soon, average yields had doubled to 50-60hl/ha – a level that was unsustainable, especially in challenging vintages such as 1992, ’93 and ’94. Gradually they implemented changes, introducing green-harvesting (in 1986 at Ch. Margaux) and reducing fertilisation levels in the 1990s. Today, he and his team aim for around 45hl/ha, “a good production” in his mind – but a level which also offers insurance against inclement conditions. Lowering yields is something that, for him, has brought greater consistency to both the estate and region across vintages – ensuring they can ripen the crop each year. Deliberately reducing the yield beyond this, however, wouldn’t offer any serious benefit, he says. Similarly, across the Durantou family’s estates on the Right Bank, including Ch. l’Eglise-Clinet, Noëmie Durantou Reilhac targets a yield of circa 42hl/ha. “The vine wants to produce fruit,” she says, “so if the yield is really, really low, something went wrong.” For her, it’s the balance that matters most. With very high yields, the resulting wines will lack concentration (“You cannot make in tanks what nature hasn’t done before,” she says), but equally if the berries are so small that there is barely any juice, you’ll have little but tannins left to work with. And, while hail or frost will reduce your yield, they won’t result in greater concentration. “I think it just comes down to stress,” Dunn tells me. And that’s a common thread for several producers, arguing that vines need to struggle to produce quality. As Sébastien le Golvet – of Champagne Henri Giraud, who works with the poor soils of Aÿ – says, “genii are born of suffering”. Suffering doesn’t always mean lower yields, however: arguably, Dunn says, in high-vigour sites, keeping higher yields will help increase stress, pushing the vine to work harder – and therefore produce higher quality. Elements impacting yield While it’s impossible for us to address every factor that influences yield, it’s worth – relatively briefly – highlighting a few additional influences beyond site (with poorer or richer soils), variety and vintage: Trellising: Trellising – the shape in which a vine is trained – can be used to control yield. At Cerbaiona, Fioretti emphasises how using alberello or bush vines is key to helping contain Sangiovese’s natural vigour. At Tiberio, Cristiana Tiberio’s oldest vines are pergola-trained, with a traditional Abruzzese system that encourages competition but also increases the canopy to aid photosynthesis and ripening. Vine material/rootstock: The material used in a vineyard is integral (as with Quinta do Noval’s Nacional vineyard, see below). Mike Dunn, for example, mentioned how one of his older vineyards was planted on St George rootstock, known for shatter and therefore limiting yields even further. Jean-Marie Fourrier (Domaine Fourrier) argues that the use of selected clones, rather than massal selection, has resulted in higher yields and the need to green harvest, something that he never does – aided further by the age of his vines (see below for more on this). Vine age: There’s no doubt that the element of vine age is conflated with yields and quality, with older vines often producing better fruit – but less of it. As Mike Dunn told me, the wines from his oldest vines are “more intriguing”, but at some point economics comes into play, and the level of production is financially unsustainable. It’s another non-linear relationship, however, as Durantou Reilhac explains: “Some 70-year-old grandmas can run and dance, and others are weaker.” Although most old vines will produce less fruit, she finds it’s far from uniform in her vineyards – and sometimes there will be young vines that produce less. Virus and millerandage: Virused vines will produce lower yields, and as with old vines, will reach a point where they are unsustainable. While on the surface virus is negative, certain producers do value the reduction in yield or slower ripening that is a result of disease – South Africa’s Hamilton Russell being one (with leafroll virus). Quinta do Noval persists with its own-rooted Nacional vineyard, suffering from phylloxera, with the vines slowly dying and yielding tiny volumes, to produce a particularly special and rare Vintage Port. Similarly, millerandage is a condition most commonly a consequence of poor weather at fruit-set, producing grape clusters with unevenly sized grapes, combining larger and smaller (or shot) berries – sometimes referenced as hen-and-chick. While this reduces yield, the phenomenon is sometimes valued for giving increased concentration to wine. Indeed, some particular clones – such as the Mendoza, Wente or Gingin clones of Chardonnay – are valued for their bunches with hen-and-chicks, and Bret Brothers, for example, even makes a special Cuvée Millerandée – with millerandée Chardonnay – from Les Quarts (a Pouilly-Vinzelles site recently awarded Premier Cru status). Cover crops: At Henri Giraud, Sébastien le Golvet feels that cover crops are essential to the quality of their fruit – and the yield. Sewn just before harvest, the cover crops provide competition up until flowering when they roll the grass mix, creating a bed that holds water and offers nitrogen to the soils, acting as a natural fertiliser – in a way both moderating then fuelling the vines’ growth. This is one hint at the extent to which the type of soils and level of organic matter, not to mention water availability, dictated by site and the farming methods, are all key. The previous vintage: There are two theories at play here. Firstly, conditions during what is known as the initiation phase of the vine cycle, which takes place alongside flowering, will dictate the yield of the following vintage. In 2023 in Burgundy for example, one of the factors in yield was that the spring of 2022 offered perfect conditions, laying the groundwork for 2023’s plentiful crop. As Sébastien le Golvet also explained, however, a large crop in one vintage can tire the vines, meaning they have less to give the following year. How wine producers manage yield The vine naturally wants to reproduce, to grow, ripen fruit and spread its seeds. Vignerons are tasked with taming the plant to focus its energies to develop fruit of concentration and complexity that will make fine wine. This is done in many ways, some of which include: Pruning: The first stage to set up the yield in an existing vineyard is pruning, leaving the appropriate number of buds per vine for the season ahead. The timing of this varies according to the producer, from December through to March, with later pruning helping delay the vine cycle, which is sometimes desirable. Alvina Pernot, for example, specifically pruned her vines shortly (ie to offer a lower crop) in 2023 to help the vines recover from the relatively high-yielding 2022 vintage. Lalou Bize-Leroy famously works with very low yields, and emphasises how important pruning is in this (Domaine Leroy harvested just under 30hl/ha in 2023, its highest ever yield – a number which would still be low by many producers’ standards). De-budding or suckering: In spring, producers will de-bud or sucker the vines, removing lateral shoots and providing further control of the potential yield, as well as the spacing and position of the crop. In 2023 in Burgundy, many producers emphasised how important this was. Hugues Pavelot described it as “drastic”, while Philippe Jouan passed through his vines twice. At Bouchard, Frédéric Weber explained how some of the buds produced two or three bunches in 2023 (rather than the normal one), meaning that even with extensive de-budding yields were very high. Green harvesting: Green-harvesting is the most discussed method of yield control, and one that divides producers. We spoke to several Burgundian vignerons who avoid it (Dominique Lafon, Jacques Devauges at Domaine des Lambrays, Philippe Jouan and Jean-Marie Fourrier, to name a few) – some of whom felt that they had no choice but to use the method in 2023, despite their best efforts. The reason against green-harvesting is that the vine will try to compensate, and that it can be avoided with managing the vineyard in other ways. That said, there are many top-tier producers that green-harvest, and feel it is key to the quality they produce (Ch. Margaux, Eglise-Clinet, Georges Noëllat and Olivier Bernstein, to name a few). And it’s not a decision that any take lightly, well aware that they are literally throwing away potential income. At Cerbaiona, Fioretti compares the vines to runners or cyclists – needing to carry as little weight as possible to get over the finish line. With Sangiovese, he finds it’s unavoidable, especially with the presence of “wings” or “shoulders” (smaller separate clusters that sit on the shoulder of the main bunch). The timing is key, and many producers emphasise the importance of green-harvesting early in the season. For Noëmie Durantou Reilhac, she aims to have this done prior to véraison to avoid twisting the stems (which would impact sap flow) and damaging the skins of the remaining bunches. She’ll do a final pass through her vineyards just before harvest, but this is a method of sorting rather than impacting the ripeness of the grapes on the vine. “There’s a certain point where you can reduce fruit, say a month away from picking, but it won’t do anything,” says Myriad’s Mike Smith. Like many producers, he favours green-harvesting mid-véraison to drop anything that is behind, helping even the ripeness of the crop – as Bascaules does at Ch. Margaux. In 2023, several Burgundy producers highlighted having to do multiple passes to reduce the crop – doing what was sometimes referred to as a “pink” or “blue” harvest on top of a green harvest. Canopy management: A vine’s leaves are its engine – responsible for photosynthesis. The larger the canopy, the larger the engine, therefore trimming the vine’s canopy can help lower its vigour, while keeping a larger leaf area can help encourage vigour. This needs to be considered alongside airflow (to avoid disease pressure) and shading of the bunches (which could delay ripening). If the canopy isn’t balanced with the volume of fruit, it can also negatively impact fruit composition – especially the acid make-up and development of colour and phenolics. Ivan Massonnat (Belargus) explained that in 2022 and 2023, for example, he used a high trellis, allowing a larger leaf area, to capture maximum light and photosynthesis to fuel the vines; but in 2022 he did the opposite, wanting to reduce the size of the “sugar machine”. It has, he notes, become common for large canopies to be used alongside low yields, especially by producers in Burgundy, something he feels has gone too far at certain addresses: “You can kill a wine with concentration,” he says. Some argue that trimming the canopy can encourage it to grow further, while others want to retain a large canopy to encourage root growth (Olivier Lamy feels that the vine has the same amount of growth above and below ground, therefore wanting to retain his canopy to the roots to drive deep into the soil). Lamy is one of a cohort of producers using “tressage”, or braiding, to tame the canopy – a technique pioneered by Lalou Bize-Leroy. For her the aim is to avoid cutting the apex (or growing tip) which would otherwise encourage the growth of lateral shoots. Producers such as Charles Lachaux have taken this even further, training vines to a single stake (more common on the steep slopes of Priorat, Côte-Rôtie or the Mosel) and weaving the shoots into distinctive arches.  The relationship between yield and quality is undoubtedly a tricky one – and one that every producer I spoke to feels is deeply complex. We couldn’t touch on everything here (the tiny yields for botrytised sweet wines, for example, or typically higher yields used for sparkling wine), but there’s plenty to consider. While it remains clear that excessive yields can produce dilute wines, with so many variables play, it’s also clear that less isn’t always better. Read more Editorial

Burgundy’s vignerons were blessed with quantity in 2023, but – when it comes to making fine wine – how much is too much? We spoke to a host of top producers to find out if low yields really do mean better quality

Do low yields really mean better quality when it comes to wine? We talk to Ch. Margaux, Cerbaiona, Eglise-Clinet, Belargus, Dunn, Myriad and more to find out

Understanding yield and quality in wine

Yield and quality: is less really more?

Domaine Paul Pernot is synonymous with the appellation of Puligny-Montrachet. For the last 30 years the estate – alongside Domaine Leflaive and Domaine de Montille (previously Château de Puligny-Montrachet) – has been one of the largest shareholders in the appellation, playing a significant role in maintaining its reputation for complex, expansive, mineral-tinged Chardonnay.  Paul Pernot created his estate in the early 1950s, initially with 11 hectares, although at the time not all of it was planted to vines. It was only in the 1950s, with the invention of modern tractors, that the hard limestone rock could be penetrated for the first time, enabling more of the appellation to be planted with vines and Pernot’s acreage increased. By the early 1990s, the estate had increased its holdings to 20 hectares, including plots in the Grands Crus of Bâtard-Montrachet and Bienvenues-Bâtard-Montrachet.  Puligny – with its 230 hectares of vineyards – is considerably smaller than its neighbouring appellations, Meursault and Chassagne-Montrachet, with notably fewer vignerons fortunate to own vines in this prestigious appellation. Domaine Paul Pernot, thanks to its relative size, is therefore in an enviable position, with its production in high demand from the main négociants of Burgundy and beyond.  The estate has historically sold significant volumes, most notably to Joseph Drouhin, while keeping the cream of their crop for themselves, typically just 40% of their production. It was this that prompted Alvina Pernot to establish her own label. “My husband Philippe and I have been wanting to make our own wine for several years. As the family estate sells part of the harvest to the negociants, it seemed logical for us to start recovering part of it.”  Alvina Pernot, (granddaughter of Paul Pernot), a young vigneron born and raised in Puligny Montrachet, grew up close to the family estate, as her father and uncle managed the domaine throughout her childhood. Despite branching out on her own, Alvina Pernot still works at the family estate, managing the commercial and administrative part of the business (allocations, customer tastings, logistics, management, etc). Until last year she was also involved in the winemaking, but this year she was not able to be there as much. “Now we have reached a point where my husband and I must be completely focused on our own wines at vinification.” The quick-ripening season of 2019 made that ever clearer, as there was a rush to get the grapes picked to retain the taut traits typical of her wines.  Growing up under the guidance of such a prestigious Puligny estate was no doubt insightful for Alvina. The most important thing she learned from her father and grandfather she explains “is that exemplary work in the vineyard allows for high quality raw material. From then on, we have all the cards in our hands to make the best wine possible.” Despite the similarities in their viticultural practices, there are notable differences in the winery. “When we started, we didn't want to make a copy and paste of the domaine, but rather try to produce a wine in our image: reflecting our own vision of wine. We love the domaine wines and share the same passion of the profession, but we also love the idea of creating something for ourselves and trying new things.”  “With the smaller production levels, an extra attention to detail becomes possible,” says Alvina. She opts to hand harvest in small crates as opposed to the traditional large containers, better protecting the grapes against oxidation. During the all-important pressing stage, Alvina opts for the more traditional vertical press, rather than the more widely used modern horizontal pneumatic presses. According to Alvina, the traditional vertical presses have a distinct qualitative advantage despite losing 15 - 20% more juice than modern presses. “It reduces oxidation, provides a greater purity of juice with naturally higher acidity and therefore freshness.”  The Alvina Pernot wines have longer ageing on the lees too, right up until bottling – 11 months. In the future Alvina hopes to extend her control of élevage further, with a soon-to-be-built new winery in Puligny, allowing her, when necessary, to age the wine on the lees even longer. She and Philippe hope to have the winery up and running by the 2021 harvest.  How each of these bespoke adjustments affect the final result in bottle is an interesting experiment to explore. No doubt the wines from Domaine Paul Pernot and Alvina Pernot are distinctly different. Paul Pernot grapes are typically picked a few days later than Alvina’s on the same site, with a style very much focused on concentration and richness. Alvina’s methodology is more focused on purity and tension. To taste the wines side by side is a fascinating contrast of Puligny’s potential.  The must-try wines from each Pernot  Domaine Paul Pernot: Puligny-Montrachet, Premier Cru, Les Folatières  The historic sites Domaine Paul Pernot retains for itself is arguably some of the most prized in Puligny. The estate is lucky enough to own vines in both the Grands Crus of Bienvenues-Bâtard Montrachet and Bâtard-Montrachet, yet it is the Premier Cru Les Folatières that Alvina believes shows the Paul Pernot domaine at its best, the most representative rendition of the Folatières terroirs. “We are the largest owner of this appellation (three hectares) and the positioning of our plots (Clos des Folatières, Peux-Bois and Folatières) within the vineyard allows us to have a wine that is a true representation of the cru.”  Alvina Pernot: Meursault, Premier Cru, La Pièce sous le Bois  Alvina Pernot’s wines come from a selection of her favoured sites, belonging to the Paul Pernot estate as well as an additional site in the Puligny-Montrachet lieu-dit of Noyers Bret. Three of the Alvina Pernot Premier Cru cuvées – La Pièce sous le Bois, Les Chalumaux and Champ Gain – are at some of the highest altitudes in the Puligny and Meursault appellations. While Alvina admits it is difficult to generalise, these higher-altitude vineyards produce wines that are less opulent and more tense. There is however a noticeable difference in the Premier Cru La Pièce sous le Bois in Meursault. While the altitude brings distinct freshness, the soil is not the same limestone rock of Puligny. It is a thicker clay more typical of Meursault. Despite the altitude, the wine therefore has weight and power, but with an added freshness unusual for lower sites in Meursault and showcases the brilliant contrast of power and vibrancy Alvina brings to the appellation.  Discover more about Alvina Pernot or read more Editorial 

The Pernot family has been making wine in Puligny-Montrachet since the 1950s – but today Alvina Pernot is striking out to forge a reputation of her own. We talked to her about the decision to break away from the family domaine, and how her wines differ from those of her father  

Alvina Pernot's family has been making wine in Puligny-Montrachet since the 1950s – but today she is striking out on her own. She tells us how and why

The Pernots of Puligny

The Pernots of Puligny: a family divided by tradition and modernity

There’s something unlikely about the pairing of Scotland and Andalusia – the fine single malts of Scotland’s craggy landscape being matured in barrels shipped from the warmth of Jerez, where orange trees line the streets. Together, however, the raw spirit and these barrels – drenched in the complex flavours of the Sherry they previously held – create something all the more special.  Today you’ll find spirits aged or finished in any number of casks – previously bearers of Bourbon, wine, Port, Madeira and more. Sherry casks are, however, the traditional choice – but why?  Well, largely thanks to the Scots’ penchant for Sherry. The fortified wines of this southern Spanish region have been savoured north of the border since the 16th century, although it was a trend for Sherry and rum punches in its clubs during the 18th century that really caused a rocket in sales. Doubtless this was tied to Scottish interests in Sherry, with bodegas in the hands of the likes of Arthur Gordon and George Sandeman (also of Port fame) .  At the time Sherry was – like most wines – shipped in cask, then bottled on arrival. These barrels wouldn’t be the ones in which the Sherry had been maturing (ie they weren’t part of the solera), but barrels explicitly made and used for transport, holding Sherry for a matter of months as it was shipped from Spain to its final destination. This kept the Scotch whisky industry well stocked with a steady supply of Sherry casks being delivered right to its doorstep.  And producers found that these barrels – thought to have absorbed as much as 10 litres of Sherry – delivered layers of complexity to the spirit that fills them, adding notes of dried fruit, nuts and sweet spice. Of course the sort of Sherry that filled the barrel impacts the style of the final whisky. Biologically aged styles – Fino and Manzanilla – are rarely used, while the nutty, spice and dried fruit notes of Oloroso are the most common choice. Pedro Ximénez or PX – the lusciously sweet, almost treacle-like style of Sherry – lends the richest notes to a whisky.  Gradually, however, regional bodies around the world started insisting wines were bottled at source to protect their wines from possible adulteration. And so in the 1980s, the death knell almost sounded for Sherry-cask-aged whisky, as it became illegal to transport Sherry in cask. This, paired with Sherry’s fall from fashion and therefore decreased production, made Sherry casks rare beasts.   But – to the relief of whisky-lovers everywhere – the industry found a solution. Today, the production of Sherry casks for the whisky industry has become a second avenue of income for Sherry bodegas. The barrels are filled with Sherry with the sole purpose of flavouring the cask – either at the bodega in Jerez, or in Scotland (having shipped the Sherry over).   Technically, there’s no definition of “Sherry cask” under Scotch whisky regulations. While casks have to be made of oak and hold no more than 700 litres, the rules don’t specify how long a cask would have to hold Sherry for the term to be used on the label. In fact, at present, the casks don’t in fact have to hold “real” Sherry – and as a result much of the fortified wine used to season casks is from beyond the borders of the Sherry triangle.  “True” Sherry casks are in high demand. Today they can fetch as much as 10 times the price of a Bourbon cask. Given their expense and rarity, it’s no surprise that producers use these casks many times over. However, with each use the impact of the Sherry flavour is reduced – meaning that “first-fill” casks are all the more special.  With such a long tradition, Sherry-cask-aged whisky isn’t going anywhere – but it’s certainly getting harder to find.  Explore all Scotch or read more Editorial

We trace how Sherry casks came to be used for ageing Scotch whisky, and why they’re increasingly rare and sought-after 

Tracing how Sherry casks came to be used for ageing Scotch whisky, and why they’re increasingly rare and sought-after.

Why Sherry butts are rarer than ever

Cask secrets: why Sherry butts are rarer than ever 

When Jean-Marc Roulot wandered through the family estate’s cellars one, seemingly ordinary day, he happened upon something unexpected. The vigneron had walked the hallowed paths innumerable times during his legendary father Guy’s life and during the 15 years since his sudden passing in 1982. But there, in a long-forgotten corner of the cellars, lay 12 dusty bottles of apricot liqueur. Jean-Marc knew all about his father’s production of pear and apple brandy, and his family tradition of producing marc de Bourgogne and fine de Bourgogne. The still, which he used and remains in operation today, dates back to 1866 and used to be on wheels so the family could move from village to village. So well-known was this distillation heritage, in fact, that Jean-Marc’s mother used to joke that the still paid for their vineyards. What came as a surprise to the actor-cum-winemaker was the existence of L’Abricot. “I had never seen him make this liqueur,” the 65-year-old says. “It was absolutely delicious and I wanted to try to find this recipe.” This discovery in 2008 set Jean-Marc on a mission to reproduce the liqueur from instinct, as no recipe existed, and increase the estate’s staple of brandies, eaux de vie and liqueurs. In some instances, the winemaker was able to follow recipes and meet with fruit producers to reinstate his father’s relationships. For others, he had to forge his own path. “I wanted to reconnect with that [tradition],” he adds. Jean-Marc says he’s always had a passion for distillation, having learned the skill from his father, and feels it has influenced his winemaking. When distilling, Jean-Marc focuses on two things: purity and authenticity. When asked, he says it is of paramount importance that the end product tastes like the fruit. It seems obvious, perhaps, but this is not always the case with overly saccharine fruit-based liqueurs. In order to achieve these two things, Jean-Marc has reduced the sugar levels over time – from 180g/l sugar 10 years ago to 160g/l in the latest iterations. “Sugar is of course a flattering element in a liqueur, but it can also mask the fruit,” he says. “By lowering the sugar levels, I feel like I'm putting the fruit forward.” From more classic pear and raspberry to the most recent addition, lemon liqueur, Jean-Marc says the fruit choices have largely been emotive. “I chose to make a pear alcohol since my father already made this 40 years ago with fruits from the Hautes Côtes de Beaune,” he says. “He was doing the same thing in a much smaller amount with the raspberry than I am doing. For these two fruits in brandies, it is therefore a family tradition.” The pears are sourced from the same site in the Hautes Côtes de Beaune that his father used, while the apricots (previously from the orchards of Chave) come courtesy of Laurent Combier (of Domaine Combier) in the Rhône. While he used to be able to source them locally, raspberries are now hard to find – and these, along with his lemons, come from further afield (Bulgaria and Sicily, respectively). After finding the bottles of apricot liqueur and working with the fruit in that capacity, the idea occurred to Jean-Marc to ferment them to make brandy as well. He’s also turned his hand to lemon liqueur and doesn’t rule out further fruit experimentation, perhaps with grapefruit. When asked about these fruits in relation to terroir, Jean-Marc says he doesn’t think they can reflect their terroir “as well” or “as faithfully” as grapes. “Perhaps this is due to the size of the plant, the density of planting, the attention we pay to the work of the vineyard and all the care we take around the grape when it comes back to the winery,” he adds. “There is generally a ‘signature’ effect in grapes that I do not find in a fruit like pear for example.”  He does, however, think the distillation process has taught him a considerable amount. “As we are mainly winegrowers, we seem to think that our knowledge on this subject has influenced the work on the still, but I sincerely believe that the precision that distillation requires has influenced us in the other direction, towards our work as a winegrower.” One senses Jean-Marc’s discovery of those 12 unassuming bottles all those years ago had a much greater impact on him than merely influencing his production of superlative wines, and now, his fruit brandies, eaux de vie and liqueurs. Find out more about Domaine Roulot or read more Editorial

Meursault-based Domaine Roulot is one of the finest estates in the Côte de Beaune. But it’s not just grapes that cross the threshold at this domaine. Owner and winemaker Jean-Marc tells us about the family’s fruit-based spirits – and how they’ve influenced his winemaking

The famous Meursault vigneron Domaine Roulot on his family’s other project - the family’s fruit-based spirit

Domaine Roulot Meursault fruit-based spirits

A secret still: Domaine Roulot

Think of the Golden State and you imagine sunshine, orange trees and top-tier surf. But this past week, I’ve seen crazy winds, dramatic (and welcome) rainstorms, below-zero temperatures and more snow than anyone in Napa has seen for 50 years. In a similar way, it’s all too easy to shoehorn the region’s wines. Big Cabernet. Buttery Chardonnay. Those, like the sunshine and surf, are the clichés. But there’s much more than cliché to California, an area as large as many countries, and the wines made here. Over 1,000 miles from north to south, with vineyards sitting at altitudes of 50 to over 2,000 feet, cooling influences from the Pacific and San Pablo Bay, complex ancient soils (up to 140 million years old)… California is far from simple. And you’ll find everything from Arneis to Pinot, Grüner Veltliner to Schioppettino. This week, we’ve been on the road, exploring Napa and Sonoma, talking to just a handful of the producers that have made California such a special place for wine-lovers. The scale of this landscape is grander, with a sense of space to breathe, the parcels of vines tucked in amongst hills and mountains, with the expanse of coastline just a short drive away. You can see why it was – and is – a land of promise.
 While Napa and Sonoma are firmly established as fine wine regions today, their history is comparatively short. George Yount (who gives his name to Yountville) is thought to be the first person to plant grapes for wine in Napa in the 19th century, while Charles Krug was the valley’s first commercial winery, founded in 1861 – closely followed by names such as Schramsberg, Beringer and Inglenook. By 1889 there were over 140 wineries in the area. But phylloxera struck, then Prohibition, and the thriving industry’s expansion was sharply curbed. Producers that survived that difficult period found loopholes in the law, such as unofficial home-winemaking kits and sacramental wine. After Prohibition’s repeal in 1933, it took time for the industry to find its feet. The Mondavi family – who bought Charles Krug – was integral to its development, but the focus wasn’t immediately on fine wine. Figures such as Georges de Latour, Louis M. Martini and André Tschelischeff started changing the story, but it was arguably Robert Mondavi – who struck out on his own to found the eponymous winery – who led Napa into a new era, championing it as a region that could compete with the Old World. Of course, the now legendary 1976 Judgement of Paris was the turning point. When California came out on top in Steven Spurrier’s blind tasting, the world took note. Soon the cult of Napa Cabernet was born, and as Parker’s scores swayed palates, prices soared. 
But it’s unfair to think of that as the region’s story – for there is much more to uncover beyond the sheen of those 100-pointers. While of course some producers come with the polish you might associate with Napa, almost every winery we’ve visited has been fast to focus on the vineyard, whisking us out to walk or drive through the vines. As an agricultural state (grapes – both wine and table – are only the second biggest crop here, following the dairy industry, and with almonds only just behind), farming is at the heart of its culture.
 And it’s ever more relevant, with the region at the forefront of climate change – as this week’s extraordinary weather conditions show. Drought is an ongoing challenge (although recent rains have replenished groundwater), and wildfires have stolen headlines – especially in the 2017 and 2020 vintages (expect much more from us on this soon) – ravaging vast swathes of land, the flames and the associated smoke taking both lives and livelihoods. Despite these challenges, there’s such excitement here – with an electric vitality to the industry. Land prices in Napa are enormous – over half a million dollars per acre for the best sites, and planting any additional land is almost impossible. But that isn’t stopping its evolution, with shifting farming, winemaking, varieties and styles as producers look to redefine modern Napa. Head west towards the Sonoma Coast, where the ocean breezes and fog are bone-chilling, and new frontiers are being forged. The skies here are moody, thick fog cloaking the view of this exposed area, but fields of sheep and cows are being replaced with vineyards as people push limits to create restrained styles, especially of Pinot and Chardonnay. 
We can’t thank producers who have swung open their doors to us enough. We’ve already had so many fascinating conversations about the trends and challenges in the region, about what people are doing in the vineyard and winery and why, and tasted some remarkable wines. Hundreds of thousands of people headed west in the 19th century, drawn to this corner of the land of opportunity. Many didn’t find their fortune in the Gold Rush, but this is still a place that holds such promise.  Reinvention and revolution is the Californian way, powered by a uniquely American entrepreneurship. Forget the scramble for treasure, today the bold and the brave are creating their own destiny – and it’s filled with hope.
 Read more Editorial


After a week spent touring some of Napa and Sonoma’s best wineries, exploring the Golden State and what makes it so special. Sophie Thorpe considers why – three centuries after the Gold Rush – California remains a land of opportunity

After a week of touring Napa and Sonoma, we consider how California wine producers are creating their own destiny – and exceptional wines

Wine’s land of promise – California

Land of promise: California

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