A short discussion on colour theory of white wine together with recommendations arising from the occasion: Sophie

By Kurt Höretzeder

The enjoyment of wine begins with the eye. A look into the glass stimulates expectations, whets the appetite for a particular flavour. Colours, ‘colour presumptions’ play an important role here, for they influence our disposition: the vibrant green of plants as a sign for everything that is ebullient, for freshness and hope; rich yellow of the sun for warmth, energy and joie de vivre. It is not by chance that white wines are favourites in spring and summer … What is more appetising on a sunny day than a glass of white wine? And if the sun is lacking, the colour at least reminds us of the light stored in the grape juice. // “Bright yellow with topaz-coloured reflexes” is how the description of ‘Sophie’ begins, the very special Manincor white wine blend, special also because the name of this wine derives from its being dedicated by Count Michael to his wife Sophie. On taking a sip it becomes plain that the bright yellow and green in the glass, the scent of acacia and lime blossom on the nose, and the concentrated, mellow though nevertheless refreshing fruit on the palate all belong together. The optical, olfactory and flavour impressions in wine enter a close, intrinsic relationship with each other. And if one pursues these analogies further, all these colour relationships also appear once again on the table: a certain colour harmony (which also includes the contrasts) is a useful advisor in the matching of wine with food. // It is worth while taking time to consider the optical appeal of a wine and its colours. Each variety has its typical colour. It can tell us something about the salient features of the terroir, the microclimate and also about the preferences of the grower. And you can be certain that these colours have nothing to do with artificial additives: greenish, green, greenish-yellow, greyish-yellow, pale yellow, pale gold, amber, brown – everything you can see derives from the grapes, every shade, every tint, each nuance of colour. // In the course of his artistic work Manfred Alois Mayr took up the theme of wine colour in his paintings in the hallway between the reception room and the conference room at Manincor. He too had as his subject the white wine ‘Sophie’, or more specifically: the changes in colour which occur as the bottle gradually empties. They became the model for the ‘greenish-golden-yellow’ painted wall coverings and steps. And should you happen to see the ‘real’ Countess Sophie negotiating those six steps you would immediately think: the Count has a good sense for the names of his wines.