Rosemary Brown

Rosemary Brown published three books: • Unfinished Symphonies: Voices from the Beyond William Morrow, 1971; • Immortals at My Elbow Bachman & Turner, 1974; • Look Beyond Today Bantam Press, 1986; • Sheet music available at Keturi Musikverlag (Germany)

Brown's claims about spirit communication were disputed by sceptics, although there were a number of musicians and musicologists who supported her claims. Humphrey Searle, who was an authority on Liszt, wrote in his autobiography Quadrille with a Raven, referring to Grubelei, 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 Joseph Cooper in his TV programme "Face the Music". Professor Ian Parrott was also a supporter, and participated in a documentary, and wrote Rosemary Brown's obituary for the Guardian: '…Grübelei (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." ' After studying her compositions, musicologists and psychologists came to the conclusion they were the work of Brown's own subconscious. Leonard Zusne and Warren H. Jones in their book Anomalistic Psychology: A Study of Magical Thinking (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." Professor of psychology John Sloboda wrote that Brown's music offers "the most convincing case of unconscious composition on a large scale." 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: Kastenbaum suggested the composers were secondary personalities of Brown herself. 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 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." Brown maintained that she had never had any musical training aside from a few piano lessons, though paranormal investigator Harry Edwards says: 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 musical household and being a competent musician and pianist. According to the psychologist Andrew Neher: [Brown] 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 compositions. Musicologist Denis Matthews described her music as "charming pastiches" and suggested she was re-creating compositions. Similarly Alan Rich, music critic of New York 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. Concert pianists Peter Katin, Philip Gammon, Howard Shelley, Cristina Ortiz and John Lill have all performed her music. Brown was the subject of a BBC Radio 4 drama, The Lambeth Waltz by Daniel Thurman, first broadcast in 2017. An LP spoofing her work, Rosemary Brown Psyches Again! was issued in 1982 by Enharmonic Records.