Introduction

Abstract

This issue of Diacrítica takes the figure of Eurico Thomaz de Lima as a point of reference and brings together a series of studies on his artistic career as a pianist, composer and pedagogue. Heir to the German-influenced Central European romantic tradition of the 19th century, Eurico, as well as being a virtuous performer, reveals in his piano works a taste for national roots and a pianistic language close to that of his master Vianna da Motta (1868–1948). Alfredo Pinto (Sacavem), in one of his Lisbon Chronicles, published weekly in Correio do Minho in the 1920s and 1930s, said that the last exam of Eurico Thomaz de Lima's virtuosity course was "a brilliant exam". Curiously, the pianist asked him to write in the local newspaper that he would very much like to play in Braga, which would only happen many years later, when he started teaching at the city's conservatory.