They avoided each other for over a decade, but in Leipzig, in Brodsky's home, on Christmas Day 1887, Brahms and Tchaikovsky finally met. And it was awkward. The reason? They didn't like each other's music.

It would be difficult to find two men more unlike. Tchaikovsky, an obleman by birth, had something elegant and refined in his whole bearing, and the greatest courtesy of manner. Brahms with his short, rather square figure and powerful head, was an image of strength and energy; he was an avowed foe to all so-called "good manners". His expression was often slightly sarcastic. When they were introduced by Adolph Brodsky, famous Russian violinist, Brahms was rehearsing his piano trios in family's music salon. Tchaikovsky said, in his soft melodious voice: "Do I not disturb you?". "Not in the least" was Brahms reply, with his peculiar hoarseness. "But why are you going to hear this music? It is not at all interesting". Tchaikovsky sat down and listened attentively. The personality of Brahms, as he told later, impressed him very favourably, but he was not pleased with the music. The situation might have become difficult, but at that moment the door was flung open, and in came Brodsky's dear friends, Grieg and his wife, bringing - as they always did - a kind of sunshine with them. They knew Brahms, but had never met Tchaikovsky before. The latter loved Grieg's music, and was instantly attracted by these two charming people, full as they were of liveliness, enthusiasm and unconventionality, and yet with a simplicity about them that made everyone feel at home. Tchaikovsky with his sensitive nervous nature understood them at once.

After the introductions and greetings were over, they passed to the dining-room. Nina Grieg was seated between Brahms and Tchaikovsky, but she started from her seat exclaiming: "I cannot sit between these two. It makes me feel so nervous". Grieg sprang up, saying: "But I have the courage!", and he exchanged places with his wife. So the three composers sat together, all in good spirits.

The dinner was followed by music in salon. Madame Grieg would sing her husband's beautiful songs and he himself would accompany her at the piano. She always put great enthusiasm in her singing and stirred everyone deeply. It was a treat to hear her, and Tchaikovsky never failed to express his delight. The composers soon became intimate friends and, as a token of his great esteem, Tchaikovsky dedicated to Grieg his Overture to Hamlet.

That Christmas, full of wonderful sounds and complex personalities, we invoke again, with wine to match: light and fresh whites and subtle reds for Grieg's Ballade in G minor, heavy and filling reds for Brahms' Intermezzi Op.118, and finally complex, intricate reds for Tchaikovsky's Dumka in C minor, Op.59.

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Devouring love that consumes all, in sweet and raging passion. We meet our heroine Olivera who share with us her story of loves gained, loves lost, and all those who will remain, forever.

Her story inspires devotion and admiration, channeling strength, endurance and shear perseverance of spirit. This unique, intimate and passionate rendition of the best of the French romantic music, we perform for your delight with wines to match. Through Bizaet's Carmen, Massenet's Manon, Delibes' Lakmé and Offenbach's Bacarolle, we are wrapped in some the best of French wines to feed our devouring love and unyielding passion.

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New world beckons with summer breeze of change and renewal. Jazz is in the air and excitements grow around it with a fantastic dance of piano keys and playful genius of Gershwin, Prokofiev and Kapustin.

This summer we explore new world wines through exquisite renditions of Gershwin's monumental Rhapsody in Blue and Porgy & Bess. Enjoy meditative and serene Visions fugitives Op. 22 by Prokofiev, as well as playful and mischievous Kapustin and his 24 Preludes Op. 53, all paired with fresh, daring wines from USA, Australia and New Zealand.

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