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What can it be, this squat semicircular structure nestled inconspicuous yet peculiar amid the faculties and offices along the leafy university stretch of Royal Parade, Melbourne, Victoria, Australia? Looks like a bus station without passengers, a public lavatory without users; perhaps still more (being windowless save for a high band of opaque glass bricks) a wartime bunker or bomb shelter. There’s a front door, tightly sealed; the bell yields no answer; the inscription gives nothing away — except to those who already know what they seek. For this singular building houses the inheritance of the most plural composer who ever lived: Percy Grainger, Melbourne’s greatest son and the 20th century’s most maverick musician.
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