2019 Cordero di Montezemolo "Viaventi" Alta Langa 1,5lt. Magnum
Although the winery’s DNA is linked to the “great classics” of the Alba area, the art of sparkling wine making is part of Piedmont’s oenological history. This is what prompted Giovanni Montezemolo to test his skills in this field in 1987, when he embarked on this path with his first “prise de mousse”.
Since then, the passion has never waned. Within the confines of “restricted” production, every year the company has purchased a few hundred kilos of Chardonnay and Pinot Noir suitable for the production of Metodo Classico sparkling wine from vineyards located in the highest parts (400 metres and over) of the Langa hills. The technique and the style have evolved over the years but they still maintain the original desire to create a sophisticated “bubbly” suitable for the table at all times.
We see it as the search for a condition of harmony, to be achieved at all levels and between every element involved in our daily environment: plants, flora, fauna, insects, man, soil and microflora are all essential factors, interconnected in a complex project of task sharing that has to be studied, understood, respected and assisted in order to achieve the perfect balance, which is the fulcrum of any result associated with the concept of “quality”.
The wine made there served the tables of the owners and local residents and was probably sold to people in the neighbouring villages. The first wine production intended for sale in more extensive areas was launched in around 1830-1840 by Giacinto Massimiliano Falletti. It was continued by his son Costanzo and particularly by Costanzo’s widow, Eulalia Dalla Chiesa di Cervignasco. She expanded the vineyards and cellars, and increased sales, which were nevertheless still modest being limited to or slightly beyond the confines of the lands ruled by the Royal House of Savoy. The work was continued by her only daughter Luisa Falletti.
THE FALLETTI ESTATES IN LA MORRA WERE HANDED DOWN TO THE CORDERO DI MONTEZEMOLO FAMILY.
Countess Luisa Falletti gave birth to a son (who died while still a child) and two daughters. One of these, Maria Lydia, married a Lieutenant of the Italian Royal Navy, Paolo Cordero di Montezemolo, in 1918. They too had just one child (1920), also called Paolo. Unfortunately, the two young parents died within a very short time. When Maria Lydia died, her estate passed directly to her son Paolo, who was raised by his grandmother Luisa Falletti. The Falletti dynasty of La Morra came to an end when Luisa died in 1941, and her grandson Paolo, who was just 21 at the time, found himself sole heir to the family estates. But the family’s passion for Monfalletto hill continued, flowing strongly through Paolo’s veins. Having helped his grandmother in the management of the estate from a very young age, always attentive and filled with the desire to learn about and improve the land, he went on to carry out extensive renovations that are still present today.
The Cordero di Montezemolo family is originally from Mondovì. Baldassare was responsible for the birth and development of graphic art in the Savoy states; in 1472, together with Antonio Mathias of Antwerp, he published two editions of the book by St. Antonino, “De Istitutione Confessorum”, which were the first two printed works produced in Piedmont. The family of the Marquises Cordero di Montezemolo is one of the most numerous aristocratic families in Piedmont and many Montezemolos have distinguished themselves in the past, as soldiers and diplomats, for their devotion and loyalty to the then reigning House of Savoy. The family motto “Honneur et Fidélité” is a reminder of their constant commitment.
Even today, under the direction of Elena and Alberto Cordero di Montezemolo, after 19 generations, the family tradition continues its commitment to this land, guaranteeing that the next generation will receive the same values of which it is so proud.
The basis of everything is the attentive and silent observation of what happens in our vineyards. Then comes analysis. We have no absolute certainties. We prefer to always consider the possibility that there might be a better solution in every choice we make. Frequently asking ourselves questions and doubting even the simplest things has allowed us to grow and better understand our role. We believe in carefully assessing the numerous factors that determine a condition. This is the only way we can be sure that we are improving and not neglecting important aspects of our work.
Man intervenes to moderate these balances, with the minimum possible impact and disruption. We use techniques and products which, by their very nature, are capable of regulating the vine’s production process, without damaging the life within its environment.
Attention to every detail has always inspired our work. In 2013 we chose to push further forward and take an organic approach to managing our vineyards. This move led us to the attainment of organic certification, which is crucial with a view to the future. Our predecessors have left us the gift of a remarkable territory and an immense heritage of farming culture. It is our duty to care for, protect and, if possible, improve this heritage in order to pass it on to future generations with even greater awareness and responsibility than those we received.
Tradition and innovation are two sides of the same coin. We consider ourselves to be “Progressive”, explorers of an environment that is constantly evolving, climatically, cognitively, technically and even socio-culturally.
We don’t want to be guardians of a time that no longer exists, nor do we want to be champions of a partial awareness of things. Awareness of what we have at our disposal grows vintage after vintage and the variables, being precisely that, vary over time. It is our duty to take this into consideration and to reflect, not on how to keep things exactly the way they are, but on how to interpret and manage the variables that we encounter along the way, based on our experience. Respecting tradition doesn’t mean using the same tools and the same rules for ever (however romantic it might seem). It means preserving, in both mind and spirit, the desire to understand and improve; a good tradition requires the ability to adapt, to avoid losing the value of past experience, without the fear of making mistakes. Tradition is expressed in people’ s passion, not in the techniques they use.
Although the winery’s DNA is linked to the “great classics” of the Alba area, the art of sparkling wine making is part of Piedmont’s oenological history. This is what prompted Giovanni Montezemolo to test his skills in this field in 1987, when he embarked on this path with his first “prise de mousse”.
Since then, the passion has never waned. Within the confines of “restricted” production, every year the company has purchased a few hundred kilos of Chardonnay and Pinot Noir suitable for the production of Metodo Classico sparkling wine from vineyards located in the highest parts (400 metres and over) of the Langa hills. The technique and the style have evolved over the years but they still maintain the original desire to create a sophisticated “bubbly” suitable for the table at all times.
We see it as the search for a condition of harmony, to be achieved at all levels and between every element involved in our daily environment: plants, flora, fauna, insects, man, soil and microflora are all essential factors, interconnected in a complex project of task sharing that has to be studied, understood, respected and assisted in order to achieve the perfect balance, which is the fulcrum of any result associated with the concept of “quality”.
The wine made there served the tables of the owners and local residents and was probably sold to people in the neighbouring villages. The first wine production intended for sale in more extensive areas was launched in around 1830-1840 by Giacinto Massimiliano Falletti. It was continued by his son Costanzo and particularly by Costanzo’s widow, Eulalia Dalla Chiesa di Cervignasco. She expanded the vineyards and cellars, and increased sales, which were nevertheless still modest being limited to or slightly beyond the confines of the lands ruled by the Royal House of Savoy. The work was continued by her only daughter Luisa Falletti.
THE FALLETTI ESTATES IN LA MORRA WERE HANDED DOWN TO THE CORDERO DI MONTEZEMOLO FAMILY.
Countess Luisa Falletti gave birth to a son (who died while still a child) and two daughters. One of these, Maria Lydia, married a Lieutenant of the Italian Royal Navy, Paolo Cordero di Montezemolo, in 1918. They too had just one child (1920), also called Paolo. Unfortunately, the two young parents died within a very short time. When Maria Lydia died, her estate passed directly to her son Paolo, who was raised by his grandmother Luisa Falletti. The Falletti dynasty of La Morra came to an end when Luisa died in 1941, and her grandson Paolo, who was just 21 at the time, found himself sole heir to the family estates. But the family’s passion for Monfalletto hill continued, flowing strongly through Paolo’s veins. Having helped his grandmother in the management of the estate from a very young age, always attentive and filled with the desire to learn about and improve the land, he went on to carry out extensive renovations that are still present today.
The Cordero di Montezemolo family is originally from Mondovì. Baldassare was responsible for the birth and development of graphic art in the Savoy states; in 1472, together with Antonio Mathias of Antwerp, he published two editions of the book by St. Antonino, “De Istitutione Confessorum”, which were the first two printed works produced in Piedmont. The family of the Marquises Cordero di Montezemolo is one of the most numerous aristocratic families in Piedmont and many Montezemolos have distinguished themselves in the past, as soldiers and diplomats, for their devotion and loyalty to the then reigning House of Savoy. The family motto “Honneur et Fidélité” is a reminder of their constant commitment.
Even today, under the direction of Elena and Alberto Cordero di Montezemolo, after 19 generations, the family tradition continues its commitment to this land, guaranteeing that the next generation will receive the same values of which it is so proud.
The basis of everything is the attentive and silent observation of what happens in our vineyards. Then comes analysis. We have no absolute certainties. We prefer to always consider the possibility that there might be a better solution in every choice we make. Frequently asking ourselves questions and doubting even the simplest things has allowed us to grow and better understand our role. We believe in carefully assessing the numerous factors that determine a condition. This is the only way we can be sure that we are improving and not neglecting important aspects of our work.
Man intervenes to moderate these balances, with the minimum possible impact and disruption. We use techniques and products which, by their very nature, are capable of regulating the vine’s production process, without damaging the life within its environment.
Attention to every detail has always inspired our work. In 2013 we chose to push further forward and take an organic approach to managing our vineyards. This move led us to the attainment of organic certification, which is crucial with a view to the future. Our predecessors have left us the gift of a remarkable territory and an immense heritage of farming culture. It is our duty to care for, protect and, if possible, improve this heritage in order to pass it on to future generations with even greater awareness and responsibility than those we received.
Tradition and innovation are two sides of the same coin. We consider ourselves to be “Progressive”, explorers of an environment that is constantly evolving, climatically, cognitively, technically and even socio-culturally.
We don’t want to be guardians of a time that no longer exists, nor do we want to be champions of a partial awareness of things. Awareness of what we have at our disposal grows vintage after vintage and the variables, being precisely that, vary over time. It is our duty to take this into consideration and to reflect, not on how to keep things exactly the way they are, but on how to interpret and manage the variables that we encounter along the way, based on our experience. Respecting tradition doesn’t mean using the same tools and the same rules for ever (however romantic it might seem). It means preserving, in both mind and spirit, the desire to understand and improve; a good tradition requires the ability to adapt, to avoid losing the value of past experience, without the fear of making mistakes. Tradition is expressed in people’ s passion, not in the techniques they use.