Judith Crispin-Cresswell, doctoral student of Larry Sitsky, Head of
the Composition Dept. at the Canberra School of Music, part of the
Australian National University, has written as follows:

  "Denis Condon (from Sydney) has decided to leave his roll collection
  (9000 reproducing piano rolls) to the Australian National University
  instead of having the collection broken up and auctioned.  This is
  wonderful news as his collection is one of the most significant in
  the world.

  "His decision is conditional however.  The costs of training an
  apprentice, building somewhere to house the collection, moving the
  equipment, maintaining the rolls and instruments, etc., have got to
  be raised before he will sign anything.  The University will match
  whatever funds we can raise, so it's not a completely hopeless task.

  "So, my question to you is: Do you know of any philanthropic
  organisations or individuals that might donate some money to
  preserve Denis's collection?

  "Larry Sitsky has more details than I do about this, but I've heard
  Denis's instruments and they are absolutely superb.  Nothing I
  encountered in Europe came anywhere close -- and he's invented new
  mechanisms, improvements on old designs.  The thought of his
  collection being dispersed is really awful."

I believe we should all develop a plan to assist in this vital
enterprise.  Condon is one of the world's most erudite collectors
(teaches at the University in Sydney), has been assembling his enormous
collection over the past 50 years, and has done much to preserve the
many rare rolls he's gathered.

Some of you may recall that it was his transfer, making use of a
Vorsetzer of the three rolls making up the Grieg piano concerto
(Duo-Art 6475, 6479, 6485) played by Percy Grainger, that was issued
by RCA in the LP era.  Denis carefully removed the perforations
representing the second piano part (orchestra) and the Sydney Symphony
Orchestra, led by John Hopkins, collaborated.  It was reasonably
successful, preserving Percy's very individual interpretation, which
he had tried for many years to convince major orchestras was "the"
authentic one (developed under the composer's supervision).

I would welcome any and all suggestions as to funding.  Collectors all
over the planet should involve themselves in attempts to convince
foundations and moneyed individuals of this unique venture.  I will be
happy to co-ordinate, on behalf of the RPRF, and will gladly address
any and all sources.

Judith Crispin-Cresswell undertook the location of the DUCA rolls set
down by Ferruccio Busoni, having obtained funding from the ANU, and had
some small success in the latter part of 2001.  She visited collectors
in the Netherlands and Germany.  She is completing a doctorate at the
Canberra School under Sitsky's direction and will involve as many
musical sources as possible there in order to preserve this
truly-historic 'stash.'

A photo exists of Condon standing in what looks like a warehouse of
rolls.  I am hoping to be able to obtain a listing of what he has,
but he has been less than co-operative in the past.  Perhaps he will
now take time to give some idea of the scope of his life's
accumulation.

I repeat that we should all take this seriously, and do everything we
can to assure preservation.  One of the caveats I would add is that,
unlike IPAM, the collection should be made available (under secured
conditions) to collectors with projects for posterity's benefit.
Address all comments to me at <apetrak@wclv.com>.

Let me hear from you,

Albert M. Petrak
Founder, The Reproducing Piano Roll Foundation
http://www.rprf.org/index.html