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FULLY ABSORBED With a lone spotlight shining on him in the dark hall, Eurico forgot the world around

Organised by Dockers San Francisco, Fundacao Oriente Haywards Black and Radio Indigo 91.9 FM, the curtain-raiser unfurled a rich tapestry of music from the western European country.

Twenty-eight-year-old Eurico Pereira enthralled the audience with his intricate music — performing “small pieces, each very different from each other, coming from different countries and having different styles” in the first half of the performance. Clad in a red shirt, the demonstrative musician performed with the guitar perfectly nestled on his knee.

Eurico was simply a genius – having played the instrument since he was nine, he studied at the National Conservatoire at Lisbon and the University of Evora, before being awarded a scholarship at the Royal Academy of Music in London.

With just a lone spotlight shining on him in the dark hall, Eurico performed a bout of compositions on the guitar which seemed to be the very core of his musical self. Performing the Venezuelan Antonio Lauro’s “Valse (Waltz) Venezuelano No. 3”, the composer’s most famous work, Eurico’s intonating rendition straddled the space between mirthful and solemn. Mexican composer Manuel Maria Ponce’s “Three Preludios” were brimming with rhythm – from being delightful, light, playful and coaxing, the music let you drift away.

British composer William Walton’ “Bagatelles” was more animated, characterised by notes ranging from sensuous to short, staccato. It was like ripples in a lake snaking their way through to form veins and lines; and Eurico’s performance was sustained and well-constructed.

Playing Bohemian baroque lute player Jan Antonin Losy from Prague saw Eurico breathing, soaking and luxuriating in the Italian and French fusion music. “Beethoven of the Guitar”, Spanish Fernando Sor’s “Little Stories from Opus 31” was tuneful and soothing, with a very serious, piano sound to it. The movements ranged from strong church-organ-like influences to a bevy of lively notes.

The second half saw Eurico’s own compositions — “O Idilio de Evora opus 10” —which he composed four years ago when he was studying at University. The piece, which was meant to be a “beautiful poetic experience”, had a different tone altogether that moved away from Portuguese musical intricacies to adopt a more universal feel, without losing its folksy character.

Eurico closed the evening with Fernando Sor’s music again, this time performing from one of his famous Sonatas opus 25. While Andante Largo was forceful and grand, at once reminding you of Napolean-invaded Spain, the first movement was more stately and regal. “Allegro non troppo” was cheerful, “Andantino Grazioso” was a string of harmonised melodies and “Allegro Minuetto” was dramatic with staccato renditions.

Eurico Pereira’s performance was immersed in his guitar throughout – exemplary of an artiste who is so absorbed in his art – that he forgets the world around.

The concert was a tapestry of melodies that saw lyrical music woven in from not only Portugal, but also other Latin American countries that contributed to this genre.

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