When I was a student at the University of Minnesota, I took a course in the history of opera as part of my minor in music history. The course was fascinating because it was taught by a Pulitzer Prize-winning opera composer, Dominick Argento. I learned a lot, but was also intrigued by why Professor Argento, with all his fame and accolades and the incredible demand on his time from graduate students in composition, would devote time twice a year to teaching Opera 101, a basic, introductory course with a large group of students, many of whom had no aim of having a career in music, much less being world-famous composers.

I asked him about this one day after class and his response was simple: “I like teaching students with many perspectives,” he said, “but I also do this for myself. If every year I can put myself in the place of a beginner and rethink the entire history of this art form, I think I’ll be a better composer.” In other words, frequently revisiting the basics enhances your expertise with fresh ideas and an open perspective.

I have come to believe that music and wine are linked in many ways, and I think about Dr. Argento’s comments often because I get to experience something similar. Teaching wine classes for the Wine and Spirit Education Trust (WSET) gives me wonderful exposure to wine. I certainly enjoying the technical tastings and sharing ideas in advanced classes, but my greatest joy comes from teaching the fundamental and intermediate courses. Far from being a rehash of things I already know, I get to attempt to dispel with preconceptions and, to some extent at least, enjoy that thrill of discovering something new.

Yes, I’ve had New Zealand sauvignon blanc hundreds of times, but when I ask Level 1 students to taste it without knowing what it is, it’s almost like discovering that blast of herbaceous fruit all over again. And better still, it challenges me to think about what I mean by a term “herbaceous,” and how do I sense and explain acidity, and whether, putting aside existing prejudices as much as possible, do I like this wine?

I’m fortunate to teach for WSET provider Fine Vintage, Ltd. because the owner (and my mentor), master of wine James Cluer, insists we pour more wines than called for by WSET and significantly better wines than the minimum required. With quality wines in the glass, I get to revisit wines I like, a few I’m not so passionate about and, in some cases, brands I haven’t tried before. For example, we need to feature a premier cru Chablis as an example of unoaked chardonnay, but I choose the producer each time I give a class. Because I teach in half a dozen cities, the availability changes so I get to taste the efforts of many different producers.

This process of evaluating the elements of how to taste wine on a frequent basis, or tasting while trying to avoid stereotypes and biases, is invaluable. You might think it’s doing the same thing over and over, but in fact it is key to keeping my palate fresh. There are plenty of opportunities to have technical tastings with highly skilled friends, but the challenge of tasting with people just discovering their own passion for wine has been a key in keeping my own passion in high gear. I invite you at your next tasting to try to be a novice again and see if it doesn’t bring you some welcome surprises as well.

Here are some thoughts on what we tasted in my most recent WSET Level One course:

Piper-Heidsieck NV Cuvée Brut Champagne – This wine is at a very high level of quality these days, and if anything getting a little fuller bodied. It’s a great example of Champagne style.

Domaine Vincent Dampt 2020 Chablis 1er Cru, “Les Vaillons. — Crisp, mineral driven with lots of lemon, green apple, green pear, oyster shell and flint, this is a wonderfully clean, high-quality Chablis at a reasonable price ($40).

Rombauer 2020 Napa Carneros Chardonnay – I frequently use this ripe and heavily oaked wine to provide a contrast to the Chablis and illustrate how versatile a grape chardonnay is when grown in different climates. In past vintages I’ve found Rombauer to be overly ripe and overly oaked for my taste. It still is, but everything was much more balanced in the 2020 vintage of this wine – a welcome surprise. ($40)

Abbazia di Novacella 2020 Alto-Adige Pinot Grigio – crisp, clean and bright, this is the epitome of pinot grigio grown in the cool mountain climate of Northern Italy.  ($20)

Cloudy Bay 2021 Marlborough Sauvignon Blanc – there are several styles of sauvignon blanc, and that grown in Marlborough, New Zealand is certainly the market favorite these days. But this wine shows we are seeing some changes coming to the once-single-style region. Cloudy Bay is toning down the traditional pungent herbaceous nose and palate and picking up a little extra body along the way. Still unmistakeably NZ in approach, but it has its mellowing style. ($30)

Dr. Loosen 2020 Wehlener Sonnenuhr Riesling Spätlese – Loosen turns out a consistently reliable style of Mosel riesling with medium sweetness, crisp lime and green apple flavors, a welcome whiff of white flowers and an always intriguing petrol note. I would have preferred one a little bit older to show how the grape ages, but that is increasingly difficult in today’s market. ($34)

Château Doisy-Vedrine 2017 Sauternes – though sweet wines are not a wildly popular style in today’s wine market it’s important to talk about the various ways they can be made, and you can’t discuss the great wines of the world without address botrytis, or “noble rot.” ($25 / 375ml)

Michel Magnien 2019 Morey-Saint-Denis 1er Cru “Climats d’Or” – if you are going to talk about pinot noir there is no better example than a premier cru Burgundy. Magnien’s wines are biodynamic, innovative and delicious as well as being very classic in their medium ruby color, high acidity and low(ish) tannins. This is a terrific example. ($100)

Paul Hobbs Crossbarn 2018 Napa Valley Cabernet Sauvignon – My aim in Level 1 is to give students classic examples of the world’s great grape varieties, and this wine is a wonderfully pristine representation of Napa cab – lots of black currant, blackberry and cedar on the nose and palate. ($50)

Château du Parc 2015 Saint-Emilion Grand Cru – in talking about merlot, it’s important to show how the grape behaves in the old world. This Bordeaux is 80% merlot (with 20% cabernet franc) and moderates the varietal plum, wild strawberry, blueberry and mocha notes with a typically Bordelaise inclusion of forest floor, tobacco leaf and an appealing earthiness. Fruit and minerals together – classic right-bank Bordeaux. ($56)

Elderton 2020 Barossa Valley Shiraz – you can learn a lot about wine making from a wine like this that has pristine varietal character (blackberry, just a hint of jamminess, a touch of black pepper and licorice) enhanced by aging in new and used, large and small oak vessels. Great quality and very approachable now though it could last for a decade. ($29)

Brolio 2018 Chianti Classico Riserva – I am happy when I can include Brolio in our level 1 classes because it has such a great story as one of the most historic properties in Tuscany as well as having exceptional quality. This beautifully made wine is 100% sangiovese and showcases the grape’s classic red fruit flavors, violet aroma and high tannin and acidity. ($30)

Lopez de Heredia 2008 Viña Tondonia Rioja Reserva – Rioja comes in many styles these days, but few wines offer as clear a taste of classic tempranillo as this one. With 13 years of age, we get to talk about what happens when a wine ages in bottle and there are plenty of tertiary notes in this wine without sacrificing any freshness. ($57)

Taylor-Fladgate 2016 Late Bottled Vintage Port – LBV Port is a great introduction to a discussion of fortified wine. Several producers have good LBVs, and this one is a great classic. ($23)

The beauty of this tasting is that I have another Level 1 course coming up in July and an altogether different roster of wines to share. Bring on the passion!