From deer to rillettes…/rillettes de veado

After a considerable amount of organisation a whole fallow deer arrives from Fermanagh! Cleaned, skinned and hanging for three days, the job of butchering was remarkably quick (2 hours) and produced an array of extraordinary roast cuts and sirloin for steaks. There is very little waste and off cuts in a deer but I was determined to keep some meat for sausages and for rillettes. This is a recipe for a slightly unusual approach to rillettes using venison neck and duck fat.

Venison Rillettes

Venison Cuts

1 neck of venison
2 cups of duck or goose fat
2 cups of duck or chicken stock
1 tsp thyme
2 tsp cinnamon
1 tsp grated nutmeg
3 cloves
10 black peppercorns
2 bay leaves
2 sticks of celery (diced)
2 carrots (diced)
sea salt

1. Place the venison neck in a casserole, season generously with sea salt and freshly ground black pepper.

2. Add all other ingredients to the casserole except the cinnamon and nutmeg making sure there is enough liquid/fat to cover the venison.

3. Cook under low heat for 4 hours or more (until meat shreds easily with a fork).

4. Remove the neck from the casserole and shred the meat, letting the liquid in the casserole cool down. The shredding should achieve a smooth texture made of fine meat fibers.

5. When the casserole is cold enough for the fat to separate from the liquid spoon some of the fat into the meat until the desired texture is achieved (careful not to add the liquid). The addition of fat is particularly important to venison as this is an extremely lean meat and there is no such thing as low fat rillettes!

6. Add cinnamon and nutmeg and taste to check seasoning and serve cold on white bread or crackers.

If you want to keep the rillettes for more than a week you can store in sterilized jars making sure you cover the top with fat to seal.

Hanging Fallow Deer

Published by

Pedro Rebelo

Pedro is a composer, sound artist and performer. In 2002, he was awarded a PhD by the University of Edinburgh where he conducted research in both music and architecture. Pedro has recently led participatory projects involving communities in Belfast, favelas in Maré, Rio de Janeiro, travelling communities in Portugal and a slum town in Mozambique. This work has resulted in sound art exhibitions at venues such as the Metropolitan Arts Centre, Belfast, Centro Cultural Português Maputo, Espaço Ecco in Brasilia and Parque Lage and Museu da Maré in Rio, Museu Nacional Grão Vasco and MAC Nitéroi. His music has been presented in venues such as the Melbourne Recital Hall, National Concert Hall Dublin, Queen Elizabeth Hall, Ars Electronica, Casa da Música, and in events such as Weimarer Frühjahrstage fur zeitgenössische Musik, Wien Modern Festival, Cynetart and Música Viva. His work as a pianist and improvisor has been released by Creative Source Recordings and he has collaborated with musicians such as Chris Brown, Mark Applebaum, Carlos Zingaro, Evan Parker and Pauline Oliveros as well as artists such as Suzanne Lacy. His writings reflect his approach to design and creative practice in a wider understanding of contemporary culture and emerging technologies. Pedro has been Visiting Professor at Stanford University (2007), senior visiting professor at UFRJ, Brazil (2014) and Collaborating Researcher at INEM-md Universidade Nova, Lisboa (2016). He has been Music Chair for international conferences such as ICMC 2008, SMC 2009, ISMIR 2012 and has been invited keynote speaker at ANPPOM 2017, ISEA 2017, CCMMR 2016 and EMS 2013. At Queen's University Belfast, he has held posts as Director of Education, Director of Research and Head of School. In 2012 he was appointed Professor of Sonic Arts at Queen's and awarded the Northern Bank's "Building Tomorrow's Belfast" prize. He has recently been awarded two major grants from the Arts and Humanities Research Council including the interdisciplinary project “Sounding Conflict”, investigating relationships between sound, music and conflict situations. Ongoing research interests include immersive sound design and augmented listening experiences. Pedro has been appointed Director of the Sonic Arts Research Centre in 2021.

Leave a comment