264:, a piece inspired by Liszt: 'It is certainly in keeping with Liszt's experimental style, being mostly written in single notes in each hand; it is highly chromatic, and one hand is written in 5/4 time against 3/2 in the other. The latter is not a thing that Liszt ever did as far as I know, but it is the sort of thing he might have done as I said in my broadcast, which was reproduced on this record sleeve without my knowledge! Since then Fiona and I have got to know Rosemary well and believe her to be perfectly genuine. Even if the pieces dictated to her by dead composers are not masterpieces - although some of them are very nice works - she has had no technical training in composition and could not possibly produce pastiches like, say, those by
279:(meditation), partly dictated under the watchful gaze of BBC reporter Peter Dorling and a television studio crew, is undoubtedly a most spectacular and unusual piece. It has strong harmonies, cross-rhythms and occasional instructions in French - a point conferring authenticity, but difficult to fake. The composer and Liszt specialist Humphrey Searle said: "We must be grateful to Mrs Brown for making it available to us." '
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the most important characteristics of
Schubert's treatment of sonata form. So this is certainly not a superficial imitation. So when the sceptics claimed that she was making just a superficial imitation, something maybe improvisatory and so on, I don't believe they were accurate – at least regarding some of her better pieces."
313:
made each of them so remarkable was their unpredictability. Their next composition might well open a new domain in musical sensitivity or technique. Alas, they have now all fallen into desuetude. Nothing new shows up to enrich their post-mortem compositions, and nothing surprises, except perhaps the lack of surprises.
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A perusal of newspaper reports about Ms. Brown elicits contradictory information about her alleged lack of musical education. Originally she stated that she had had no musical training; later she was reported to have had only a couple of years of music lessons, and recently admitted to belonging to a
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There is no striking themes, complex structures, depths of feelings, or harmonic, tonal, or rhythmic innovations. During their days on earth all the composers not only created distinguished music but also contributed to the development of compositions for the keyboard. One of the characteristics that
320:
PhD student Erico Bonfim studied a particular sonata by
Schubert produced by Brown and said: "…I chose to investigate a sonata attributed to Schubert because Schubert has a very special and particular way of dealing with sonata form. What is very impressive, in this sonata I analysed, we can see all
239:
Brown claimed that each composer had his own way of dictating to her: Liszt controlled her hands for a few bars at a time, and then she wrote down the notes; Chopin told her the notes and pushed her hands on to the right keys; Schubert tried to sing his compositions; and
Beethoven and Bach simply
337:
loved music as a child, there was a piano in her home while she was growing up, her mother played the piano, and she herself took piano lessons. All of this, together with the enhanced skill often displayed in altered states of consciousness, seems sufficient to account for her musical
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She worked for the Post Office from the age of 15. In 1948 she acquired a second-hand upright piano, and took some lessons for three years. In 1952 she married
Charles Brown, a government scientist. They had a son and a daughter before her husband died in 1961.
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and Liszt. These included a 40-page sonata she attributed to
Schubert, a Fantaisie-Impromptu in three movements she attributed to Chopin, 12 songs she attributed to Schubert, and two sonatas and two symphonies she attributed to Beethoven.
298:(1989) noted that "Brown wrote hundreds of pieces of music dictated by the various composers. They were passable works, entirely in the style of these composers, but appeared to be simply reworkings of existing pieces."
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with long white hair and a flowing black cassock appeared and told her he was a composer and would make her a famous musician one day. She did not know who he was until, about ten years later, she saw a picture of
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magazine, having heard a privately issued record of Brown's piano pieces, concluded that they were just sub-standard re-workings of some of their purported composers' better-known compositions.
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Then in 1964 Liszt supposedly renewed contact and Brown began transcribing original compositions she said were dictated to her by great musicians of the past. Brown transcribed pieces from
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Rosemary Isabel
Dickeson was born in London in 1916. She claimed to have been only seven years old when she was first introduced to the world of dead musicians. She reported that a
308:
Psychologist Robert
Kastenbaum analysed Brown's music compositions and came to doubt that they were dictated to Brown by spirits of well known composers. According to Kastenbaum:
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who claimed that dead composers dictated new musical works to her. She created a small media sensation in the 1970s by presenting works purportedly dictated to her by
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252:. However, it would not be fair to say that this opinion was universal. There were a number of musicians and musicologists who supported her claims.
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Brown maintained that she had never had any musical training aside from a few piano lessons, though paranormal investigator Harry
Edwards says:
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was also a supporter, and participated in a documentary, and wrote
Rosemary Brown's obituary for the Guardian: '…
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wrote that Brown's music offers "the most convincing case of unconscious composition on a large scale."
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described her music as "charming pastiches" and suggested she was re-creating compositions. Similarly
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112:, 27 July 1916 – 16 November 2001) was an English composer, pianist and
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Kastenbaum suggested the composers were secondary personalities of Brown herself.
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492:"All hail Rosemary Brown – the dinner lady who played like a pianist possessed"
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Presenting new musical works purportedly dictated by deceased famous composers
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came to the conclusion they were the work of Brown's own subconscious.
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dictated the notes. She claimed the composers spoke to her in
English.
175:, one of the deceased musicians Brown claimed to have communicated with
651:"PhD student tackles enduring mystery of woman's ghostly compositions"
920:
710:
Paranormal and Transcendental Experience: A Psychological Examination
167:
800:
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675:
Edwards, Harry (1995). "Rosemary Brown (1931 – )".
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musical household and being a competent musician and pianist.
256:, who was an authority on Liszt, wrote in his autobiography
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Brown's claims about spirit communication were disputed by
614:
Debussy Redux: The Impact of His Music on Popular Culture
466:"Rosemary Brown, a Friend of Dead Composers, Dies at 85"
531:. The Skeptic's Dictionary. Accessed 9 November 2018.
441:
Sheet music available at Keturi Musikverlag (Germany)
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699:(104), September 2005, retrieved 29 September 2008)
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Anomalistic Psychology: A Study of Magical Thinking
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Anomalistic Psychology: A Study of Magical Thinking
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378:Brown was the subject of a BBC Radio 4 drama,
1338:National Spiritualist Association of Churches
812:
402:Unfinished Symphonies: Voices from the Beyond
8:
596:. Lawrence Erlbaum Associates, Inc. p. 105.
382:by Daniel Thurman, first broadcast in 2017.
333:According to the psychologist Andrew Neher:
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389:was issued in 1982 by Enharmonic Records.
31:
20:
1348:Spiritualist Association of Great Britain
592:Zusne, Leonard; Jones, Warren H. (1989).
459:
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616:. Indiana University Press. pp. 36–37.
451:
397:Rosemary Brown published three books:
268:in his TV programme "Face the Music".
1363:International Spiritualist Federation
7:
1710:20th-century British women composers
1705:20th-century English women musicians
490:Jeffries, Stuart (5 December 2019).
1318:List of Spiritualist organizations
464:Martin, Douglas (2 December 2001).
294:and Warren H. Jones in their book
14:
1690:British women classical composers
748:Parrott, Ian (11 December 2001).
567:Parrott, Ian (11 December 2001).
282:After studying her compositions,
1680:20th-century classical composers
677:A skeptic's guide to the New Age
639:. Rider and Company. pp. 182–183
76:London, England, United Kingdom
60:London, England, United Kingdom
1700:20th-century English composers
712:. Dover Publications. p. 208.
375:have all performed her music.
16:English self-proclaimed medium
1:
1343:Spiritualists' National Union
387:Rosemary Brown Psyches Again!
1333:London Spiritualist Alliance
635:Kastenbaum, Robert. (1984).
529:"Rosemary Brown (1916–2001)"
417:Bachman & Turner, 1974;
1685:English classical composers
730:The Story of Rosemary Brown
1726:
775:"Drama: The Lambeth Waltz"
728:Matthews, Dennis. (1969).
637:Is There Life After Death?
1695:English spiritual mediums
1353:Spiritual church movement
515:Brown, Rosemary. (1971).
385:An LP spoofing her work,
30:
612:Brown, Matthew. (2012).
543:"Quadrille With A Raven"
519:. William Morrow. p. 161
301:Professor of psychology
47:Rosemary Isobel Dickeson
1619:C. E. Bechhofer Roberts
1484:Carlos MarĂa de Heredia
708:Neher, Andrew. (2011).
679:. Australian Skeptics.
547:music-web-international
233:Wolfgang Amadeus Mozart
1549:Charles Arthur Mercier
1358:Arthur Findlay College
1197:William Stainton Moses
1162:Gladys Osborne Leonard
404:William Morrow, 1971;
340:
331:
315:
258:Quadrille with a Raven
176:
37:Rosemary Brown in 1980
1509:Stanley LeFevre Krebs
1414:Milbourne Christopher
1323:Spiritualist churches
1192:Lorin Morgan-Richards
1187:William Usborne Moore
856:Cross-Correspondences
517:Unfinished Symphonies
415:Immortals at My Elbow
201:Johann Sebastian Bach
171:
142:Johann Sebastian Bach
106:Rosemary Isabel Brown
1524:John Nevil Maskelyne
1424:Edmund Smith Conklin
430:Bantam Press, 1986;
229:Ludwig van Beethoven
150:Ludwig van Beethoven
1599:Julien J. Proskauer
1389:George Miller Beard
1384:John Henry Anderson
1122:Daniel Dunglas Home
839:History and beliefs
205:Sergei Rachmaninoff
158:Sergei Rachmaninoff
1639:Ivor Lloyd Tuckett
1474:William A. Hammond
1277:Stanisława Tomczyk
1267:Emanuel Swedenborg
1217:Ethel Post-Parrish
1182:Francis Ward Monck
1027:Arthur Conan Doyle
901:Spirit photography
541:Searle, Humphrey.
350:, music critic of
244:Critical reception
177:
1657:
1656:
1644:Lyttelton Winslow
1609:Donovan Rawcliffe
1574:E. Clephan Palmer
1544:Georgess McHargue
1434:Stuart Cumberland
1409:William Carpenter
1328:Spiritist centres
1287:George Valiantine
1207:Eusapia Palladino
1177:Carmine Mirabelli
1137:Swami Laura Horos
1087:Kathleen Goligher
1012:Geraldine Cummins
967:Stephen E. Braude
906:Spirit possession
891:Spiritual healing
851:Automatic writing
686:978-0-646-24502-7
622:978-0-253-35716-8
602:978-0-805-80507-9
428:Look Beyond Today
380:The Lambeth Waltz
363:, Philip Gammon,
359:Concert pianists
103:
102:
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1589:Massimo Polidoro
1539:Henry C. McComas
1444:Joseph Dunninger
1222:James Van Praagh
1112:Gordon Higginson
1052:William Eglinton
896:Spirit obsession
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69:16 November 2001
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1479:C. E. M. Hansel
1464:G. Stanley Hall
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1272:Rosina Thompson
1232:Estelle Roberts
1172:Heinrich Melzer
1147:James H. Hyslop
1117:Richard Hodgson
1007:William Crookes
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871:Materialization
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225:Robert Schumann
221:Frédéric Chopin
197:Johannes Brahms
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154:Robert Schumann
146:Johannes Brahms
138:Igor Stravinsky
134:Frédéric Chopin
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977:Rosemary Brown
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470:New York Times
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423:978-0859740197
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410:978-0688026974
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369:Cristina Ortiz
365:Howard Shelley
344:Denis Matthews
245:
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217:Claude Debussy
209:Franz Schubert
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130:Franz Schubert
118:Claude Debussy
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1394:Ruth Brandon
1379:David Abbott
1302:Chico Xavier
1262:Doris Stokes
1237:Jane Roberts
1167:Oliver Lodge
1152:Allan Kardec
1132:William Hope
1067:Leslie Flint
1032:Helen Duncan
1022:Frank Decker
1017:Pearl Curran
1002:Mina Crandon
987:Eva Carrière
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937:Derek Acorah
911:Spirit world
828:Spiritualism
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1449:Henry Evans
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173:Franz Liszt
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1634:Amy Tanner
1489:Carl Hertz
1227:Bert Reese
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