Scholastic activity concern.mg the composer Philip Cogan has slowly gathered momentum over the last fifty-five years. In 1942, the late Count Plunkett donated volumes of eighteenth-century and nineteenth-century Anglo-Irish music to the National Library of Ireland. Amongst the collection were a number of works by Philip Cogan. Preliminary cataloguing and research were undertaken in 1947 by Mr Éimear Ó Broin. In 1966 further information on Cogan emerged when Dr Ita Hogan published her book, Anglo-Irish Music 1780-1830. Subsequently, Dr Brian Boydell contributed the entry on Cogan to the 1980 edition of The New Grove Dictionary of Music and Musicians and Master Terry de Valera presented a paper on the composer to the Old Dublin Society in 1985. In America, Evelyn Barry, professor of music, Wellesly College, Boston, has made a major contribution to research on Cogan by her 1984 publication of twelve of his Piano Sonatas.1 My own interest in Philip Cogan arose from a suggestion for a research topic by Dr John O'Conor. This resulted in The Life and Music of Philip Cogan (1750-1833), a minor thesis completed in April 1990 for the degree of Bachelor in Music Education of Trinity College, Dublin. Cogan is not just important from a musical perspective. Research into his life enhances historical and sociological knowledge of Dublin in the late eighteenth and early nineteenth centuries. The composer made a considerable contribution to Irish musical life as an accomplished performer on both piano and organ, and as the distinguished teacher of many important musicians such as Thomas Moore and Michael Kelly. Cogan's works include operas, overtures, songs, sonatas and concertos. The greater part of his music that survives is written for keyboard. The largest Cogan work extant is his Piano Concerto in C major which was published in Edinburgh in 1790 by Corri and Sutherland. It is, furthermore, the only example in existence of the composer's orchestral writing. A.J. Potter realised the orchestral parts ofthe second Piano Concerto in E flat major from the keyboard part which is in the National Library music collection. He scored this three-movement work for a larger orchestra than Cogan intended, including clarinets and timpani which were not in the original title page. The layout of this performance edition of the Piano Concerto in C is based upon the example of volume xv of Mozart's complete works. 2 This thesis conforms to the house style of the Department of Music, St Patrick's College, Maynooth.