Three Reels:(1)The Man Behind The Bar,(2)The Mason's Apron,(3)The Auld Fiddler.

Here Seán plays the definitive version of The Mason's Apron, of which he became famous for all over the world in the late '50s and early '60s.

McGuire was only fourteen when his violin playing was broadcast for the first time on BBC radio. In 1949 at the age of only twenty-one, he won the Oireachtas (pronounced "ee-RUK-tus"), the All-Ireland musical championship held annually in Dublin) with the only perfect score ever awarded in the long history of the competition. In the 1950s, he became part of a major touring group called the Malachy Sweeney Ceili Band; later he helped form the Sean McGuire Ceili Band and the Four Star Quartet. [Ed. note: Ceili, sometimes spelled ceilidh ; pronounced "KAY-ley" ; is a Gaelic term for musical gathering]. Through the 1960s he was a leading member of the Gael-Linn Cabaret.

In the days before the Chieftains assumed the role, McGuire sometimes served as Irish musics cultural ambassador. He has appeared throughout Europe, and he has been named "Grande Artiste" of the Soviet Union. When he toured the U.S. in 1952, he was asked to appear on such classic American variety programs as the Ed Sullivan Show and the Arthur Godfrey Show. He was also honored by the Wurlitzer Co. of New York City, who not only invited him to play the Stradivarius and Guarnerius violins in their possession, but also to enter his name (alongside those of Fritz Kreisler and Yehudi Menuhin) in their "golden book" of master violinists.

Over the years, McGuire's name has become synonymous in Irish traditional fiddling with excellent musicianship. He has composed many pieces for the idiom, and written countless classic variations ; not only for the aforementioned "Masons Apron" ; but also for such common tunes as "The Poppy Leaf," "The Bees Wing," "The Reconciliation," "The Boys of the Lough," and "The Golden Eagle." Among his many innovations to the playing of traditional Irish music have been the practice of using sophisticated key modulations (changes) within a piece, the adaptation of advanced classical bowing techniques, and the use of up-the-neck violin "positions."

In terms of training, ambitions, and outlook, McGuire is certainly comparable to a major figure in Scottish fiddling history named James Scott Skinner (1843-1927). Skinner, too, sought to widen the scope of his native fiddling and increase its regard internationally. He created important sets of variations, and incorporated up-the- neck positions and sophisticated bowing techniques into traditional music. He was celebrated in his own time, and to this day his variations are reproduced note for note by traditional musicians in both Scotland and Cape Breton.

Because McGuire lived in a different era and worked in a different tradition than Skinner, he has for the most part been a much more controversial figure. Even before Skinner came along, Scottish fiddling had a long tradition of virtuosi who were equally at home in both the art and folk traditions. Moreover, the long history of Scottish tune-publication created a respect both for the written note and for those artists who approached the music from a learned perspective.

Irish music before the time of McGuire, on the other hand, was still pretty much an oral music culture. As we shall see, there was even a strong feeling among some that a musician with McGuires training and outlook could not possibly perform Irelands traditional music in an authentic manner. Certainly, there was a lot of resistance among musicians of "the old school" to some of McGuire's innovations. One story along these lines was imparted to me by piper/tin whistler Bill Ochs of New York City. When McGuire landed at a house party in Philadelphia some years ago at which traditional fiddler John Vesey was already holding court, the latter is said to have stood up and remarked, "There will be no playing in the flat keys in this house tonight!"