News> Rust en Vrede - Vertical Tasting 1986 to 2001


Expressing the best of each vintage in one premium blend: that's the grand aim of the team at Rust en Vrede Estate. Cape Wine Master TIM JAMES sums up the findings of the panel at a recent vertical tasting. It is always good to contemplate continuity and change - particularly in the dappled shade of oaks, before a vista of mountains and vineyards, and with a sequence of fine wines to stimulate the debate. In some ways, the tasting of 14 vintages of Rust en Vrede's flagship blend proved to be emblematic of recent shifts in Cape wine in general, in response to the desires and demands of the international market that opened up after 1994. Rust en Vrede Estate has a history of decay and renewal going back to the early years of colonisation in the Cape. Vines were first planted at the foot of the Helderberg just outside Stellenbosch (on the larger farm called Bonte Rivier) in 1730, and the existing old wine cellar was built a half-century later.

Rust en Vrede itself came into existence in the mid 19th century. Although grapes continued to be grown, winemaking lasted only a few decades into the 20th century. The modern history of the estate began in 1978 when former Springbok rugby player Jannie Engelbrecht acquired it and began restoring the old buildings and replanting the vineyards, concentrating entirely on red wines. Now this degree of specialisation, rare among Cape wine farms, is set to be refined further. Although the estate has a reputation for producing excellent varietal wines - Cabernet Sauvignon and, particularly, Shiraz - the focus for nearly two decades has been the blended Estate Wine we came here to taste. The producers, now led by Jean Engelbrecht (son of Jannie) and winemaker Louis Strydom, aim eventually to abandon the varietal wines in favour of the flagship blend. By the 2006 or 2007 vintage, they hope the blend will be the sole carrier of the Rust en Vrede name. Over the last eight years the estate has been completely replanted in the image of the Estate Wine: some 44 hectares of virus-free vineyards comprising 60% Cabernet Sauvignon, 30% Shiraz, and 10% Merlot will provide the palette for each vintage's assemblage. To complicate the choice - and the resulting wine - half a dozen different clones of both Shiraz and Cabernet Sauvignon have been planted. This major undertaking means that the wines being made now are from relatively young vines. The prospect of the product of more mature vineyards is an exciting one, for both the R&V team and the growing number of local and international consumers paying new or renewed attention to this estate. Production of the wine is expected to be around 15 000 cases - well up on the current 5 000-odd cases.

From the outset, Jannie Engelbrecht's blended wines were innovative. Although the first vintage (1986) was made only of Cabernet Sauvignon and Merlot, the second two years later had a significant Shiraz component, probably the first time a Shiraz blend was regarded by a Cape producer as its top wine. It was treated accordingly: Rust en Vrede was one of the earliest Cape wineries to mature its entire red production in new French oak barriques. The lavish wooding regime was continued by Kevin Arnold, who arrived from Delheim in 1987 to take over primary winemaking responsibilities, although an innovation of his was to make some use of the more forthright American oak. (Louis Strydom joined in late 1998, after Kevin moved to make wine under his own name and for Waterford.) What changes and what elements of continuity would the vertical tasting reveal? A significant shift in the character of the wine was to be expected - not only because of a new winemaker working alongside a second-generation Engelbrecht, but because of new vineyards with some different clones. An undoubted element of continuity, apart from the essential varietal make-up of the wine, was a commitment to quality, but, generally, the lack of real connection between wines separated by a decade or so was notable. In some ways this was less like one vertical tasting than two, with the radical separation perhaps prefigured by the 1986 wine, fully confirmed by the 1998, and becoming even more pronounced in the youthful 2000. The shift from the 1989 and the wine of 10 years later reflected not only differences in grape material, but also of intention, of winemaking philosophy. Intervention regarding the time of picking was clearly one element. The ultra-ripeness of the grapes, facilitated to an extent by the lack of virus on the vines, was noticeable in the wines: in the flavour profile, and also in the alcohol levels. Also evident was the desire to soften and smooth the tannins and generally make the wine more approachable, succulent and flavoursome in its youth than was the case with the wines of the '80s and early '90s, with their rather more severe architecture. Clearly, Rust en Vrede Estate Wine is now established in an emphatically modern mode, aligned to the demands of important sections of the international market.

Jean Engelbrecht, who lived in the US for two years, invokes his experience of Californian wine as an important influence on his own orientation and tastes. His palate, he feels, was more influenced by modern New World wines than by the French classics that served his father as a model. (One gets the impression that Jannie may not always have approved of all the changes made since he handed over to his son!) Beyond personal tastes was Jean's conscious decision to pay particular attention to building a market for Rust en Vrede in the US, catering to its demand for early gratification ('they don't want to wait 10 years...') and for impressive power rather than subtlety. Jean was determined, though, not to abandon entirely the more European orientation of the older Rust en Vrede. His brief to his new winemaker in 1998 was 'to find an in-between route', to appeal to both markets. Not a particularly easy task for Louis Strydom to fulfil, but although R&V Estate Wine's New World approach in recent vintages is apparent in the depth of colour, the immediate intensity and ripeness of flavour edged with fruit sweetness, and the bulky muscularity of its structure, there is, indeed, also an element of restraint and grace which separates the wine from some of its bolder and more aggressive New World peers. It is certainly more attuned to Napa Valley than to Barossa. Whether there remains in the wine anything that speaks directly of the Cape (or Stellenbosch, or Helderberg) is a moot point.

The issue of the wine's "internationalisation" is not, however, one that troubles Jean Engelbrecht, whose prime focus is on achieving pure "quality" rather than the perfect expression of terroir. His market-driven approach is meeting with handsome success in the US: three successive vintages (1997, 1998, 1999) have been included in the 'Top 100 wines of the year' list of the hugely influential Wine Spectator magazine, a major achievement. It is possible that earlier vintages would not have fared so well: compared to the rich, oaky suave completeness of the more recent wines, they might strike the dominant taste in America as a touch austere and even lacking full ripeness. But that is speculation and our local team generally awarded honours evenly. There were, on the whole, fewer lower marks awarded to the more recent wines than the older ones, but high scores were widely distributed, particularly to the 1989, 1991, 1994, 1996, 1998 and 2000 vintages. Several of these were five-star material - a particularly impressive achievement in the case of the younger wines, given the relative youth of the vines. The general favourite was probably the 1998. Recognition of quality is one thing, though; preference is another. What is observable in the development of the Rust en Vrede Estate Wine in recent years is characteristic of many of the Cape's most ambitious wines: a shift to an ultra-ripe, high-alcohol, earlier-drinking 'statement' style, packed with flavours of fruit and wood. Some wine lovers may regret the loss of Cape specificity and a degree of finesse. (It was notable that "finesse" and "elegant" were epithets frequently used by tasters in their notes on the wines of the 1980s and earlier '90s, but not for the later ones!). And whether the recent wines will age as well as their predecessors is something only time will reveal. Though Jean Engelbrecht may be pleased with his fine blend's development, he is quick to acknowledge the foundation provided by his father and Kevin Arnold. And the striving and fine-tuning is far from over ... even now, for example, Louis is experimenting with replacing the American oak component. A vertical tasting of Rust-en-Vrede in 15 years, looking back at the reincarnated wine, should be something very grand indeed.

The wines: what the panel noted

• 1986 Still showing remarkably well, though browning at edges. An elegance and finesse noted by all tasters, along with a New World forcefulness. For further keeping only if perfectly stored.

• 1988 One of the more controversial wines - with the two winemakers noting a degree of volatility and oakiness, and appreciating it less than the others. A typical slightly dusty minerality, some sweet fruit and a good structure of tannin and acid. Not tiring.

• 1989 Generally well-rated. Holding its colour and with some more ageing potential, though drinking well now, with a particularly appealing tannic underpinning to the fruit. Oak well integrated as in most of these older wines (100% new from 1988 onwards).

• 1990 Very adequate, but a little disappointing to some. (Kevin Arnold remarked this was a troublesome period in the vineyards, leading to problems in the cellar.) Less harmonious and balanced; lightweight fruit. Probably past its best, remarked Dave Hughes.

• 1991 A wide range of scoring here, with some tasters suggesting more time needed, others doubting if the dry tannins, oak and touch of acid-hardness would ever really harmonise with the sweet ripe fruit element.

• 1992 More richness noted here, along with a characteristic elegance (even austerity), and a savoury good balance. Still room for development, but drinking well now.

• 1993 Many noted a higher, harder acidity, as well as the prominent vanilla notes of American wood. But a good mouthfeel, with silky tannins. Unlikely to improve.

• 1994 A fairly general favourite, showing some fullness and complexity, with plenty of ripe fruit yet elegance and a good balance. No hurry to drink up this thoroughly enjoyable wine.

• 1995 Something of a change of character here - a more showily modern, charry oak-driven quality challenging the restrained expression of the fruit interest. Should be interesting to watch future development: will the wood be integrated or remain dominant?

• 1996 One of the most stand-out wines of the tasting - a remarkable achievement in a generally poor Cape vintage. Beautifully poised, concentrated and intense fruit, yet lightish-bodied (12.5% alcohol), dry and with long finish. Lovely now, should keep.

• 1997 A long cool vintage produced a big yet refined, savoury, minerally wine, with plenty of room for development. Wood notes still prominent. A significant step in the modernising transformation of this wine?

• 1998 This inter-regnum wine (Kevin departed at harvest-time, Louis yet to arrive) one of the finest. Sweet fruit, ripe soft tannins, powerful presence; wood still dominant. Achieves goal of youthful drinkability, yet will repay further keeping. 1999 Similar in style and character to previous, but in a lighter vein. Lush, ripe and firmly wooded trajectory now well in evidence.

• 2000 Another change in gear, perhaps reflective of the increased component of younger virus-free vines. Massive, impressively showy wine. All tasters' notes include 'ripe', 'rich' (and 'wood') - not always entirely approvingly! Big tannins, sweeter finish than earlier wines.

• 2001 Unfinished wine, but clearly in substantial mould of 2000 - concentrated, tannic, ripe, sweet-fruited.