Quince Jam/Marmelada

Those who grew up with the yearly autumn tradition of making large quantities of marmelada (quince jam) will not easily forget the sweet aromatic smell that fills the family home as a tick puree of quince simmers in sugar before it is poured in porcelain bowls to set (unless of course it is eaten before it gets a chance!).

This family recipe produces a smooth and rich marmelada which is delicious on the day and develops into a complex, almost cheese like consistency over months. Portuguese marmelada-making families spend a considerable amount of time debating the pros and cons of fresh versus set marmelada. Best thing is to try making it, eat one bowl straight away with fresh bread, crackers and cheese and keep the rest to eat over the winter months.

The jelly is a way of using up some of the quince flavour that stays in the cooking water and can be used for glazing cakes, in gravies and sauces or simply on bread.
marmelos

Quince

Sugar

3Kg of Sugar for 4Kg of fruit

1. Wash the quince, cut in quarters and remove core. Wash again, cover with boiling water and simmer until soft (around 15-20 minutes).

2. Strain the quince and keep the water for jelly.

3. With a hand blender, make a smooth puree with the quince, weigh and add the right amount of sugar (3kg for 4 kg of fruit puree).

4. Simmer gently for 45 minutes, stirring occasionally.

5. Pour in bowls (sterilised with boiling water and dried), cover with grease proof paper and store in a dry place.

6. For the jelly, add sugar to the quince boiling water (3kg for 3L of water) and simmer at medium heat for 3 to 4 hours. Test by spooning onto a cold plate and check whether it sets, if not, leave cooking for longer. Store in sterilised jars.

marmelada

Marmelada-Geleia

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.

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