An Introduction to Rosemary Brown
The spirits of Liszt, Chopin, Brahms and others dictate their music to her, says Rosemary Brown. Her Publisher here offers the details of her story.
For as long as Rosemary Brown's name has been known to the public, controversy has lingered over every manifestation of her unusually powerful gift or communication with "the beyond." Mediums are numerous enough worldwide to pursue their work without exceptional publicity. Rosemary Brown -- who makes no claim as a medium -- caught world attention when it became known that great composers of the past were dictating new music to her for public performance.
Such a situation forced confrontation with the professional musical world, and demanded opinion. Only the smallest percentage responded, leaving the rest to tiptoe away anxious to avoid involvement. And this situation remains today. The critical fraternity likewise ignores public performance and therefore avoids the necessity of expressing opinion one way or the other.
Rosemary Brown's three books have by welcome contrast, enjoyed wide sale and esteem. The first, Unfinished Symphonies gives an account of her early life and demonstrates the natural ease with which she communicates with relatives, friends, and celebrities from all walks of earthly life. They come to her willingly. Even that response need not excite special attention, for it is a condition familiar to more people on this plane than necessarily admit to it. (There is also an estimate that three out of four of us experience the supernatural, however superficially, at least once in our lives.)
Rosemary Brown's experience became singular from the day in her childhood when Liszt revealed that she would in due course receive music from him and other composers. By the time this began she had raised a family and suffered the early death of her husband.
The first piano pieces bear dates in the mid-sixties, most of them dictated by Liszt. Other composers -- Beethoven, Brahms, Chopin, Debussy, and Schubert amongst them -- began to appear and attempted the labor of "composing" backwards, in a sense, from a habit, to a lady immensely willing but initially lacking the expertise for a form of musical dictation that would intimidate a professional. Over the years Rosemary Brown has worked assiduously at improving her response as music is dictated note by note. She has now brought to the world some remarkable evidence of this rare kind of phenomena, of which the Twelve Mazurkas from Chopin form a small part. The failure rate has always been high because composers often abandon pieces before completion.
Piano music has consistently remained the most accommodating category. Despite that, composers attempt music for voice, organ, or for such ensembles as string quartet, and even full orchestra. No such experiment has yet proved successful, either because a composer gives up before completion or because the final result is blemished. All this bears evidence to the challenge implicit in transferring fine detail from one dimension to another.
When Schumann embarked upon his first set of piano pieces through Rosemary Brown late in 1979, it became a feat of endurance involving constant revision, that was exhausting to both composer and amanuensis. When finally the pieces were on manuscript paper to the reasonable satisfaction of Schumann, it seemed to me as the prospective publisher that an opportunity was now provided for Liszt -- the father figure of the whole amazing undertaking - to "present his cast" to a suspicious world. I conclude this introduction to the Rosemary Brown achievement with Liszt's response to that challenge.
For several years, a group of composers in the world of spirit has been making sustained efforts to transmit new musical works to the world of matter through an intermediary named Rosemary Brown.
Their efforts have not been entirely unfruitful, though their work is not always accepted by those whose minds are biased. Ignorance, prejudice, and apathy have ever constituted obstacles to the spread of Truth, and the final years of the twentieth century are proving no exception in this respect.
The music transmitted is not put forth with the object of surpassing previous musical achievements. The aim is to pour through a sufficient measure in terms of musical expression to give clear demonstrations of the personal idioms of each composer concerned. Therefore, each composer endeavours to filter through the essence of his own spirit rather than to attempt gigantic works of technical virtuosity.
They appear towards as wide a public as possible, and not to the experts alone. This is not to say that the opinions of open-minded, understanding experts are not valued, but the composers' message is for all who will listen with willing and appreciative ears.
Needless to say, there are vast difficulties to be overcome before perfect communication between the worlds of spirit and matter can be fully established. However, the composers will not be daunted since they perceive the crucial importance of opening people's eyes to the truth about themselves and the life to come.
As Carl Jung observes, people tend to behave in accordance with the image foisted upon them. We in spirit hope to help people to realise that they are evolving souls destined to pass into the realms of non-matter where they will continue to evolve. This realization should give them a whole new dimension of thinking, and raise their self-image above its earthbound limits.
As regards the music itself, this album offers twelve pieces very recently created by the soul who was known as Robert Schumann. The pieces illustrate some enchanting facets of the multi-sided genius of Robert Schumann. He lost his way on earth because the mirrors of his mind reflected false images to him. Now, of course, his mind is clear, and he shares in the delight of an unclouded vision of the beauty of Creation and its Creator.
The essence of the Creator is within each one of us, an essence which will unfold throughout time and eternity until we become perfect expressions of the Infinite Splendour.
We even added a postscript for those who queried Liszt's use of English, and it came from no less an authority out of the past than Sir Donald Tovey: "It is to be noted that Liszt has acquired a good command of the English language since his transition to the World of Spirit. All souls may continue to augment their knowledge if they so wish, and expand their consciousness if they make the necessary effort."
From Amazon: A Musical Seance with Beethoven, Liszt, Chopin, Schubert, Schumann, Brahms, Grieg and Debussy by Rosemary Brown
Product Description1970 Stereo LP with gatefold jacket and insert booklet featuring extensive liner notes and photos. Back of jacket shows a channeled message from Sir Donald Tovey (1875-1940) about the recording of this record to Rosemary brown in 1970. This recording contains these hitherto unknown works of the masters revealed to Rosemary Brown: Beethoven -Bagatelle; Schubert - Moment Musicale; Chopin - Ballade, Impromptu in F Minor, Impromtu in E flat; Liszt - Jesus Walking On The Water, Grubelei, Valse Brillante, Consolation, Swan At Twilight, Reve en Bateau, Lament, Jesus At Prayer; Debussy - Danse Exotique; Brahms - Waltz; Greig-Shepherd Piping; Schumann - Longing.
UNFINISHED SYMPHONIES: VOICES FROM BEYOND by Rosemary Brown (Paperback - out of print)