Sean McGuire

Sean McGuire (26 December 1927 – 24 March 2005) was a former All Ireland fiddle champion. He was from Belfast.

Biography

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 "err-OCTH-us"), 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.[1] 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 US 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 honoured 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!"

Listen to an original recording of Irish fiddle master Sean McGuire (Maguire) playing some tunes in his own original style. He was regarded as one of the finest musicians of his day. Maguire's great drive and tone were thought to be due to the ease with which he was able to make his classical violin education and keen ear for Irish music work so well together. Like many of his generation he believed that the music encouraged a more contented life. His God-given gift for music helped interest in Irish culture spread throughout the world. The lively spirit of the natural way he played as a young man would do you good to hear..

Discography

This section was founded on entries listed in this Outlet discography. Additional information was added from sources as cited below.

In chronological order, as a primary artist:

Included in compilations:

References

  1. ↑ Ed. note: Ceili, sometimes spelled ceilidh ; pronounced "KAY-ley" ; is a Gaelic term for musical gathering.
  2. ↑ OCLC record 58524253 viewed on 25 and 27 July 2010
  3. ↑ http://umiss.lib.olemiss.edu/record=b2514497~S0
  4. ↑ OCLC record 263928878 viewed on 23 July 2010
  5. ↑ OCLC record 58525433 viewed 27 July 2010
  6. ↑ http://www.irishmusicreview.com/discoutlet.htm
  7. ↑ OCLC record 58527576 viewed on 25 July 2010
  8. ↑ OCLC record 32972508 viewed on 25 and 27 July 2010
  9. ↑ OCLC record 11985538 viewed on 27 July 2010
  10. ↑ OCLC record 58528532 viewed on 23 July 2010
  11. ↑ OCLC record 49562206 viewed on 23 July 2010.
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