Sakamoto, who was unable to perform live due to ill health, handpicked the pianist and musicians who brought his music to life. Suite for Krug in 2008 was composed while he was undergoing treatment for cancer.

Krug has collaborated with many musicians, but Sakamoto is arguably one of its most celebrated. In the last decade, artists such as 3-D music pioneer Ozark Henry, violinist Iwao Furusawa and Bridgerton composer Kris Bowers have translated specific cuvées into original compositions called Krug Echoes.

The maison even has a dedicated music room — a wooden yurt on the grounds of the Krug Family House — in which dozens of artists and musicians have been hosted to extended tastings and tapped for music pairing opportunities.

“To be honest, I cried,” confessed Manuel Reman, President of Champagne Krug, when he first heard Sakamoto’s symphony in its entirety. “We thought we knew our champagnes. We taste the Clos du Mesnil 2008, Krug 2008, and Grande Cuvée 164ème Édition, not every day but maybe every week, so we have our own impressions of them. After listening to Mr Sakamoto’s interpretation, you realise, ‘Oh, I did not not notice that’. It was really moving.”

To learn more about Krug’s music initiatives and its 2008 vintages, we spoke with Reman, who succeeded Maggie Henriquez as President of Krug in April.

Why do you think wine and music go hand-in-hand; does sound help our perception of taste?

A wine or a champagne, such as Krug, evokes emotions that are sometimes difficult to describe. You might recall the flavour, but then the word escapes you. Was it strawberry or blackcurrant? As amateurs, we don’t necessarily have the vocabulary to describe wine’s many dimensions — flavour, structure, and texture.

Instead of technical terms, you ask yourself, “What do I feel? Do I like it or not? Does it make me feel sad or happy? The music you’d listen to on a romantic date is different from what you’d listen to during a HIIT workout. It wouldn’t make sense to switch them. Music drives emotions.

A champagne is seen with the eyes, enjoyed with the mouth, and smelt with the nose. Sound completes the sensorial experience, doesn’t it?

Before we started working with music, we tried to hear the champagne first. We developed a tool to enhance the sound of the bubbles. It didn’t work because it was too complicated.

The Krug brand has long been associated with music, so around 12 years ago, we started inviting musicians to collaborate with us. We’ve explored classical, jazz, even electronic music, and then we returned to classical with a master like Sakamoto.

Hearing a champagne isn’t so much about hearing the bubbles — I wouldn’t expect that there would be much difference between different champagnes — but more about connecting emotions through sound.

Independent champagne producers can only dream of staging events like yours. When someone says Krug has a large marketing budget, what do you say?

Our budget is rather small compared to other luxury brands. A lot of that goes to opening bottles, so people get a chance to taste them. Experiences like Ryuchi Sakamoto’s “Seeing Sound, Hearing Krug” come with a price. We don’t do big advertising promotions, such as outdoor publicity. Content is created and shared, and I think the budget is well invested.

I know [the independents] pretty well, and they all tell me they are really happy Krug is able to do what we do — bring champagne to different audiences and in different ways — which also helps champagne producers as a whole. Being able to do this makes us happy.

Enthusiasts are crazy for the single-plot Clos du Mesnil. Which aspects of the 2008 vintage do you personally enjoy?

It’s pretty different from the 2006 and the 2004. My favourite thing about Clos du Mesnil 2008 is its purity of chardonnay. Everything that is not chardonnay is removed. It’s very Japanese in a way — like polishing a grain of rice down to its core. It’s crisp and intense, but with finesse and elegance.

There are subtle notes of clovers and fresh flowers in the morning, and then the citrus comes through. Warming it up a little gives it a slight hint of bakery notes, which I love. It’s from the purity of the chardonnay and ageing on the lees for 14 years.

You grew up near nature in Normandy, but far from the nearest vineyards. How did your wine journey begin?

After putting money aside to finance a year on the road, I decided to quit my job as a strategic consultant. I was 25. I visited more than 20 countries and met professionals from the wine industry, from barrel producers to bulk buyers in Belgium to wine producers in Slovakia, and the likes of Chateau Margaux, Moët & Chandon, and even Krug in France. Back then, champagne was regarded as a wine for celebrations, but I discovered that it is an amazing food pairing beverage as well. I later joined LVMH’s champagne category, and it’s been 18 years!

Suite for Krug in 2008, by Ryuchi Sakamoto

First Movement: Krug Clos Du Mesnil 2008

“For this pure, single-plot champagne, I minimised the arrangement to the core melodic theme. This minimal form represents the discrete, fresh, and inspiring sensations of Krug Clos du Mesnil 2008.”

Second Movement: Krug 2008

“It is the musical ensemble telling the story of the year in Champagne. For this balanced and elegant champagne, I chose an ensemble of primarily violins, cellos, and other stringed instruments, but also added woodwinds for depth.”

Third Movement: Krug Grande Cuvée 164th Édition 

“I was on a quest for harmony from multiple sounds, instrumental and electronic. The fullness of flavours and aromas of Krug Grande Cuvée 164ème Édition means that everyone finds something in it that strikes them in a personal way; each experience is unique. My third movement is the same, each listener takes away something different.”

Listen to the symphony here.