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The Professional Pastry Chef

The Professional

Pastry Chef

FOURTH EDITION

Fundamentals of Baking and Pastry

Bo Friberg

with Amy Kemp Friberg

JOHN WILEY & SONS, INC.

Charts, cake decorating designs, chocolate figurines, marzipan designs, and templates drawn and copyrighted

by Bo Friberg. All other illustrations designed by Bo Friberg and Amy Kemp Friberg and drawn by Joyce Hasselbeck

Fowler; copyrighted by John Wiley & Sons, Inc.

Front cover photo, case cover photos, and halftones produced and copyrighted by Amos Chan.

All other color photographs produced and copyrighted by Bo Friberg with food-styling by Bo Friberg and

Amy Kemp Friberg.

This book is printed on acid-free paper.

Copyright © 2002 by John Wiley & Sons, Inc., New York. All rights reserved.

Published simultaneously in Canada.

No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or

by any means, electronic, mechanical, photocopying, recording, scanning or otherwise, except as permitted

under Sections 107 or 108 of the 1976 United States Copyright Act, without either the prior written per-

mission of the Publisher, or authorization through payment of the appropriate per-copy fee to the Copyright

Clearance Center, 222 Rosewood Drive, Danvers, MA 01923, (978) 750-8400, fax (978) 646-8600. Requests

to the Publisher for permission should be addressed to the Permissions Department, John Wiley & Sons,

Inc., 111 River Street, Hoboken, NJ 07030, (201) 748-6011, fax (201) 748-6008, or online at http://www.wiley.com/go/permissions.

This publication is designed to provide accurate and authoritative information in regard to the subject mat-

ter covered. It is sold with the understanding that the publisher is not engaged in r endering professional

services. If professional advice or other expert assistance is required, the services of a competent profes-

sional person should be sought. Library of Congress Cataloging-in-Publication Data

Friberg, Bo, 1940-

The professional pastry chef : fundamentals of baking and pastry / Bo Friberg.-- 4th ed. p. cm.

Includes bibliographical references and index.

ISBN-13 978-0-471-35925-8 (cloth : alk. paper)

ISBN 0-471-35925-4 (cloth : alk. paper)

1. Pastry. I.Title

TX773 .F75 2001

641.865--dc21

2001046952

Printed in the United States of America.

Book deisgn by Richard Oriolo

20 19 18 17 16 15 14 13

CONTENTS

Prefacevii

Introductionxiii

Chapter 1 Mise en Place3

Chapter 2 Basic Doughs59

Chapter 3 Yeast Breads89

Chapter 4 Flatbreads, Crackers, and Rolls163

Chapter 5 Breakfast Breads and Pastries207

Chapter 6 Cookies259

Chapter 7 Tarts, Pies, Cobblers, and Crisps323

Chapter 8 Tea Cakes, Pound Cakes, Muffins, and Other 383

Quick Breads

Chapter 9 Sponge Cakes and Cake Bases

429
Chapter 10 Basic Chocolate Work and Decorating 451

Techniques

Chapter 11 Decorated Cakes

485

Chapter 12 Individual Pastries 539

Chapter 13 Plated Desserts 603

Chapter 14 Ice Cream and Sorbets 711

Chapter 15 Custards, Puddings, Mousses, Charlottes, and Bavarian755

Creams

Chapter 16 Sauces, Syrups, and Fillings

807

Appendix A: Ingredients847

Appendix B: Equipment937

Appendix C:Weights, Measures, and Yields 971

Index994

PREFACE

In a sense, the fourth edition of The Professional Pastry Chef began as soon as the third edition was published. Right away I started to jot down ideas for new recipes, make notes regarding up-to-the-minute techniques, and consider ways in which I could improve the text. When it came time to begin the actual revision, it became clear rather quickly that there was more than enough material for two books rather than one. This book,Fundamentals of Baking and Pastry, is the first of a two-volume set. It covers all the techniques and recipes needed to complete a basic baking and pastry-making course. Included here are all of my well-tested recipes for yeast breads, decorated cakes, tea cakes, cookies, plated desserts, ice creams, custards, sauces, fillings, and more-- all of the classics from the first three editions that have stood the test of time. In addition, dozens of new recipes, illustrations, templates, and color photographs have been added to reflect the latest industry trends. For example, a new section is dedicated to todays popular Mediterranean-style flatbreads. Recipes for favorites such as ciabatta and lavash address consumers growing demand for authen tic artisan breads. Notable is that each of the appendices--Ingredients, Equipment, and Weights, Measures, and Yields--has been greatly expanded. The ingredient and equipment sections combined are virtually a book within a bookŽ with over 1,000 and 500 entries, respectively. Thanks to the teamwork of several people at John Wiley & Sons--publisher Rob Garber, who went out on a limb for me more than once to support this volume; my editor Susan Wyler, who treated the manuscript as if it were her own; Andrea Johnson, who never tired of my con- stant changes and additions; and the art and production departments, which offered great cre- ative ideas and made the concept a reality--this edition has a bra nd new look and a contempo- rary, modular design. The recipes in each chapter are organized in a way that will make them easier to use whether you are a student, teacher, professional chef or amateur-cooking enthusi- ast. Among the many new design features are Chefs Tips and informational sidebars. These, along with the recipe introductions, point out potential challenges, give specific hints and advice, convey general information about the ingredients used, discuss the history of the dish, or offer an alternative presentation or usage. Subrecipes have been moved to follow a main recipe when- ever possible to make them easier to access. This new edition also contains innovative ideas for impressive plate pres entations and incorporates techniques that utilize the tools that are needed to produce the latest nov el cre- ations. In the six years since the third edition was published, a multitude of new equipment has emerged in the baking and pastry field. Flexipan forms, made from special silicone-based com- pounds, are used more and more in place of tinned steel for baking everything from cake bases, to teacakes, madeleines and individual pastries. These pans are also used to mold custards, par- faits and other chilled or frozen creations. While the initial cost is higher than for metal forms, the expense is more than offset by the tremendous advantages they offer. The forms do not require greasing before use, they are easy to keep clean, the baked or frozen products are a cinch to unmold and, perhaps most importantly, these pans produce items that are perfectly consis- tent in appearance. Many other tools that were once made from metal are now made from com- posites that are heatproof, rustproof, and resistant to bacteria. Silpats (silicone baking mats), decorating stencils, plastic strips (acetate or polyurethane), transfer sheets for use with both chocolate and sponges, decorating combs used to create patterned sponge sheets, and, to some degree, dough sheeters, are no longer considered specialized equipment used only in large oper- ations, but are now a must in any establishment that wants to keep up with the latest industry trends. These tools and others like them are discussed and utilized throughout both volumes. Another big change in the pastry field over the past two decades is the ever increasing avail- ability of reasonably priced imported produce, such as tropical fruits, and excellent quality

halfwayŽ products like frozen fruit purees, gianduja, florentina mix, praline paste, chocolate

truffle shells, and candy fillings. Other examples of new products that make our lives easier and allow todays pastry chefs much more creativity are food-grade coolant in an aerosol spray, specifically designed for rapid cooling and setting of melted chocolate and hot sugar when mak- ing decorations, and powdered gold leaf, also in aerosol form, to make precise application much easier. A greater number of the recipes in this edition include alternative vers ions that produce a

smaller yield, aptly titled Small-Batch.Ž This was done in an effort to make the book accessible

to a wider range of readers and to both large and small professional operations. Recipes that do viiiPreface not include a small batch ingredient list are still easy to scale up or down as needed. Because none of the cake, tart, and pie recipes yield more than two, it is equally convenient for anyone to either multiply this amount as needed, depending on the occasion and/or demands, or for the home chef to divide the ingredients in half to make, for example, one birthday cake. As before, all of the recipes that produce individual servings, namely the plated desserts, custards, pud- dings, mousses, charlottes, and Bavarians, yield either eight, twelve, or sixteen servings, which again makes it easy to divide the ingredients to serve four, six, or eight. The third edition of The Professional Pastry Chefwas, I am pleased to say, a huge success for many reasons: the main one being that all the recipes work, period. This, of course, is the point of any cookbook, but unfortunately it is not always the case. Professional chefs especially, who work in an environment where not only are the cost and waste of ingredie nts significant, but time is of the essence, must have workable formulas they can rely on. Readers will be pleased to note that all of the recipes and procedures in my books have been tested by literally thousands of students in my classes and have been improved on over the course of m any years. In the

Chefs Tips and the recipe instructions, I point out typical pitfalls and explain why certain steps

must be completed in a particular order or manner. I also offer suggestions for using more than one type of form or mold when applicable, knowing that not only does every operation not have the same equipment, but also that these items are not always readily available when needed. In several instances, instructions, complete with illustrations, are given for making your own forms and molds. This book differs from many other cookbooks in several significant ways. My background allows me to approach the subject matter from numerous angles. This book is written by a working Certified Master Pastry Chef with forty-five years of professional experience in the industry. I have worked in both small shops and large retail and wholesale operations in the United States and in Europe. I worked for the Swedish-American cruise ship line, and I have demonstrated the art of pastry making in a number of instructional video s and television shows. I have spent half of my career teaching all levels of students at three different culinary schools: the California Culinary Academy in San Francisco, the Culinary Institute of America at Greystone, and the San Diego Culinary Institute, where I teach presently. In writing this book, I have drawn from all of these experiences to create a comprehensive guide notably for those who aspire to make baking and pastry their career and for instructors who, like me, are guiding their students along this path. Additionally, this book is for working professionals who are looking for doable recipes for both the basics and more modern innova- tions. One is frequently called upon to prepare this or that as a special reque st or for a particu- lar occasion, and a reference with numerous recipes and ideas is certainly a great hel p.

Some Thoughts On Teaching

Upon graduating from any culinary school, it is not enough that a student is simply able to per- form; he or she must also be able to produce at a reasonable speed to make a living. These recipes are not designed just for practice or for all-day student projec ts where labor cost is not an issue. Instead, they are workable, practical recipes to be used in the real world of pastry and baking production. Students will certainly want to carry this text with them into the indus try after graduation.

Preface ix

Depending on the institution and its curriculum, an instructor may want to use this book in different ways. Although the chapters follow a logical succession of procedures that is in keeping with students skill development, this sequence does not necessarily need to be fol- lowed. However, it is imperative that students first learn to work with fundamental ingr edients and practice preparing and handling formulas such as short dough, yeast doughs, laminated doughs, spongecakes and basic fillings before moving on to more complicated tasks. Even though the illustrations are of great help in showing students the parti cular steps for a given item, the instructor should still follow up a lecture on puff pastry, for example, by demonstrat- ing how the turns are made, rolling and cutting the dough, making bouche´es, and so on. Although these techniques are explained in this book in the way that I do them (and I do from time to time explain a variation), instructors are encouraged to give the students their own input. As a teacher, as is true of anyone in a position of authority, it is important to realize that our students are observing and learning from us all the time--our deme anor, appearance, attitude, tone of voice, sense of humor, and our overall disposition all send a message.The knowledge we share and the lessons we teach are not limited to schoolwork assignments and our classroom or kitchen demonstrations. To possess a skill and also have the ability to teach that skill to others is a gift that is not given to everyone. Most people working in a kitchen have at one time or another shown a sub- ordinate, a fellow student, or a coworker how to perform a certain task or the accepted method used for a job in that particular workplace. I see and hear this everyday in my classes: the first student to successfully make pastry cream, for example, will then drop some little hint to whomever is in line to prepare the next batch.Working together, helping one another, and shar- ing information is a great thing provided that the information being sha red is accurate. As teachers, it is important that we not only possess the knowledge and the technical skills that relate to our subject matter, but also that we are able to convey information in a way that our students can comprehend and assimilate. Before you can teach, you must have the atten- tion and the respect of your students. You must present the details and instructions in an inter- esting and entertaining way, and the students must feel motivated to learn. In other words, they must believe that what you are explaining or demonstrating will be of use to them. I have found that a little humor goes a long way in keeping the attention focused and the class interested. Obviously, some subjects are much more appealing than others are. It is not hard to keep the class excited while they are watching a demonstration on pulled sugar or work- ing with chocolate, but a lecture on the varying percentages of protein found in different t ypes of flour is a bit more of a challenge. Again, students must know why they need this information and how it might be of use to them in the future. Another way to add interest to a lecture and to help the students retain the information more thoroughly is through v isual effects. Students will retain more knowledge as more of their senses come into play. In the case of the aforemen- tioned flour lecture, a chart or graph can be used to list the different ways that a particular t ype of dough or batter reacts when it is made with various types of flour. Or, better yet, combine the lecture and the graph or chart with samples of the food product. For example, make the same bread recipe using several different flours that vary in protein content so that the students can see, touch, and taste the bread. This way you have moved from engaging only one sense (hear- ing) to two (hearing and seeing) to all five (hearing, seeing, touching, smelling and tasting).Your boring flour lecture has not only become exciting, but the information has greater meaning and is far more likely to be remembered. xPreface In a teaching kitchen, the instructor has a duty to point out a students mistakes and to demonstrate the proper way that the procedure should have been performed . Even though it

might be easier to look the other wayŽ or you may be afraid of hurting the students feelings or

might be concerned that they will become disappointed and give up, if you do not address the problem, you are not doing your job. In Scandinavia there is an expression that roughly trans- lated says The nail that sticks up will be hammered down.Ž The meaning is that just because you did not trip over the nail doesnt mean someone else wont and if you simply walk around

a problem; it is still going to be there later. One of the reasons that I like this expression is that

building and woodworking are my hobby, but I also appreciate the underlying implication that a loose nail not only poses an immediate threat in that someone could tr ip or be cut, but it also has the potential to eventually bring down an entire structure. To me, the lesson here is to take care of small problems before they become larger. As I said, a teacher must let his or her students know when they have made a mistake, but it is equally important that the message is conveyed in a diplomatic and professional manner. First of all, a teacher should never be condescending, rude, or cause embarrassment. Criticism can and must be constructive and should be done with a smile and a frien dly reminder that

after all, you are here to learn.Ž Explain what went wrong and show the student or the class the

proper technique, even if you are doing so for the tenth time that day! If at all possible, try to find something positive to mention about the item in question at the sam e time. For example, lets say an apple tart is not acceptable for service because once it has be en unmolded the crust falls apart. However, the filling was properly prepared and the tart was baked perfectly. By start- ing with comments about what was done right before moving into a discuss ion on what needs improvement, the student has something they can feel good about and be proud of. You can think of this as the first the good newsŽ technique. I have always told my students that I will evaluate their technical skills based on how hard they try and how seriously they take their work. I emphasize that they must not be afraid of mak- ing a mistake and I tell them over and over better to make a mistake here in school than when you are out working in the industry.Ž Often a so-called mistake is the very best learning tool there is, provided that the student understands what went wrong and why.Another quote I par-

ticularly like is this one by F. P. Jones: Experience is that wonderful thing that enables you to

recognize a mistake when you make it again.Ž Two skills that are key to being successful in our industry are the ability to work as part o f a team and to work efficiently in order to meet deadlines. In a lab setting, I divide the students into teams and assign each team at least as many projects as there are team members. I then

leave it to the team as a group to make a plan of attackŽ and to divide the assignments between

them. Some of the projects are general mise en place, some are not needed until the next day but must be started right away, and others must be completed by the end of class. This exercise provides an excellent opportunity for the students to practice planning, delegating, and working with others, and to learn efficient production methods. A sample of each project or recipe is set aside for review at the end of the day. I talk to the class about each item discussing what was done correctly and also how the item could be improved if applicable. As mentioned earlier, it is very important to find something good to say about each project and each students efforts. Positive reinforcement is without question the best tool any teacher or manager can use.The desire to please and be recognized for ones efforts is a very basic part of human nature. Encouraging and recognizing a students accomplishments

Preface xi

in any situation--from a technical achievement, such as preparing a recipe correctly, to display-

ing a cooperative attitude toward classmates or coworkers, to simply trying ones best even if not

entirely successful--will make any teacher or leader more productive. In using this book I wish every reader--professional, nonprofessional, student, instructor, beginner, or experienced master--great success.

Please visit my web site

www.ChefBo.comfor inquiries, updates, and information.

Bo Friberg

xiiThe Professional Pastry Chef: Fundamentals

INTRODUCTION

I started the first edition of this book twenty years ago when I returned from a trip to Europe, full of inspiration and new ideas. I began to catalog my new recipes along with the other recipes I was teaching. This fourth edition, like the first three, is a little different from other cook- books in that it tells you not only what you should do, but also what not to do, based on common mistakes that I have observed in working with students. Some of the selections are classic recipes made my way. Some date back to when I was an apprentice. A few I have adapted from restaurants and pastry shops in the United States and around Europe, where I would order something that looked interesting, pick it apart, literally and mentally, and then try to duplicate or even improve it. I developed many of the recipes by knowing what goes well together and what the American palate prefers. In addi- tion to the classics, this fourth edition continues to expand on recipes and techniques that are in keeping with current trends in the industry. An old colleague once said to me, Dont be concerned about someone stealing your ideas; show them all your cards, but always be working on something new.Ž Pastry is distinct from other types of cooking because you cannot just st ick your spoon (or finger) in for a taste and then add a pinch of this and a pinch of that as you might when mak- ing a pot of soup. Most ingredients must be measured accurately because many formulas work on scientific principles. For this reason, the pastry chef must learn how different ingredients react with others and how and why ingredients respond to temperature, friction, and storage before he or she can create new recipes or troubleshoot existing recipes A competent chefs most important assets are common sense, self-confidence, and experience. These are the three things that cannot be taught. In the book Siddharthaby the German-born Swiss author Hermann Hesse, the wise sage tells his friend: Wisdom is not communicable. Knowledge can be communicated, but not wisdom. One can find it, live it, be fortified by it, do wonders through it, but one cannot communicate and teach it.Ž To be a first-rate pastry chef, you must have some artistic talent, a good sense of coordina- tion and taste, and a steady hand.You must also possess some people skills and earn the respect of those working with you.You must be able to solve problems and hire the right people.A good chef must be born with at least some of these talents, but keen interest and a lot of practice will improve these skills over the years. When you love what you are doing, believe in yourself, and

believe that you can do the job, you will give everything your best effort. If the result is less than

perfect, at least you will have learned something, and the next time you will try a little harder. My first experiment with cooking took place in my mothers kitchen when I was eleven years old. When I came home from school and found the house empty, I attempted some kind of candy. I dont remember exactly what it was supposed to be, but I do remember my poor moth- er had great difficulty cleaning up the sticky pots and pans. We both learned something from this: my mom, to time her trips to the grocery store better; and I, to clean up my messes. After graduating from school at fourteen, I started as an apprentice at one of the local kon- ditoris(pastry shops). It was quite small--just two commis, the pastry chef, and myself. Without knowing it, I was lucky to have picked the best: my master and teacher for the next five years was a dedicated and skilled craftsman. When I began, I was a young boy who, of course, knew everything already. However, I soon found out about the real world, and especially how to take constructive criticism and learn from my mistakes. I remember his words: One mistake is no mistake. But two mistakes are one too many.Ž I spent my first six months of training practicing the three Ls: listening, looking, and learn- ing. While I was helping a little here and cleaning up a little there, I saw the breads and pastries being made. I had helped in making the dough for rye bread, but I had not done it on my own from start to finish. One morning when I arrived at work, my master said, Bo! We are short-

handed today. Make up the rye bread!Ž I was startled and said, I cant do that!Ž My master

angrily replied, Do not ever use that word here again! You can do anything you want to do if

you want to do it badly enough. The least you can do is give it your very best try.Ž I have always

remembered and tried to live by those words. It is one of the philosophies that I try to instill in all of my students. After I had become a regular on rye bread, the retired owner of the pastry shop used to come down to check me out. (At that time most bakeries in Sweden were in the cellar with small win- dows level with the street, so when the bakers looked out all they could see were shoes. Of course, to a young apprentice, some pairs of shoes were much more interesting than others.) xivIntroduction After a few lectures about the loaves that were not perfectly formed, I noticed that he would always walk in a straight line from the door to the shelves where the br eads cooled and pick up a loaf in the center of one particular shelf to examine. After I started placing the almost-perfect loaves in this place, I could practice and improve in peace. But if I happened to pay too much attention to those shoes outside the windows, I used to hear from across the room, Bo, throw

some sheet pans on the floor. I dont see you doing anything, so at least let me hear you!Ž (And

I have to admit the first time I did just that!) In the end my yes-I-know-thatŽ attitude must have

improved too, for my master named his first and only son Bo, which I claimed as the ultimate victory. He assured me, however, that naming his son had nothing to do with a certain appren- tice. I have a lot to thank John Hakanson for, and later on, Curt Anderson: two great Swedish Master Confectioners, who not only had the patience and craft to teach me what they knew of their profession, but also taught me a lot about life. Unfortunately, very few restaurants and bakeries today can afford to train an apprentice thoroughly, because it costs too much in time and materials. Trade schools now provide the training that small businesses cannot, and this allows an employer to hire a graduate who has received instructions and experience in the basics. Once the fundamentals are mastered, you can start to create, improve, and put your own style into the dishes you prepare. In our industry today, I am pleased to see more creativity and

that bit of selfŽ going into dessert menus, and more recognition being given to the pastry chef

and pastry kitchen. Ten years ago it was unheard of for a pastry chef to have his or her name on the menu; these days, many restaurants feature separate dessert menus, with written credit given to the pastry chef. The first and last impressions of a meal are especially important. I do not expect anything of a meal if the kitchen cannot make a decent salad or serve the soup hot. However, even if the meal is mediocre, a dessert that looks and tastes terrific will leave the guest with a pos itive last impression. I have noted with pleasure the rebirth of interest in great desserts. And, of course,

it is especially rewarding for me when I realize, glancing at a restaurant menu or tasting a dessert,

that one of my former students is in the kitchen. This book is about making desserts and baked goods that are both delicious and exciting. It is not meant to impress or to set any particular standards. The methods described and used in the recipes are not the only ones possible or necessarily the best me thods. There are differ- ent ways to form a loaf of bread, frost a cake, or hold a pastry bag. One way is good for one per- son, another way better for someone else. In this book I offer the best of my knowledge and experience, as I give it to my students. It is my hope that this knowledge will be useful to you as you seek to bett er yourself in our cre- ative and honorable profession.

Before You Use This Book

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