Re: [ARSCLIST] Rosemary Brown

[Lynne Carmichael <Carmichael.Lynne@xxxxxxxxxx>]

Hi

In addition to the Intercord recording, our collection includes 

ROSEMARY BROWN'S MUSIC - INSPIRED BY LISZT/CHOPIN/BEETHOVEN ETC - ROSEMARY BROWN/PETER KATIN 
Format LP 
Label / Manuf No. PHILIPS=6500049 


Regards

Lynne Carmichael
ABC. Content Services.
Coordinator Music Collections
phone 61 3 9626 1237
fax 61 3 9626 1230
email carmichael.lynne@xxxxxxxxxx






-----Original Message-----
From: Association for Recorded Sound Discussion List [mailto:ARSCLIST@xxxxxxx] On Behalf Of Roger and Allison Kulp
Sent: Tuesday, 30 January 2007 6:50 AM
To: ARSCLIST@xxxxxxxxxxxx
Subject: [ARSCLIST] Rosemary Brown

Does anybody know about the works that were supposedly channeled by,or automatically written by Rosemary Brown ? Specifically were all of these works ever published.If not,why ?  For the uninitiated,Mrs.Brown,was the British housewife/spirit medium,who supposedly transcribed unpublished works of Bach, Chopin,Stravinsky,Schubert,Grieg, Debussy, Rachmaninoff,Liszt,Beethoven,and others,with no formal musical training.Regardless what you think of these works, or their alleged sources,the scores need to be out here for the world,and future generations to decide.

Fairly honest overviews of her story follow from Wikipedia and About.com.



    Rosemary Brown (spiritualist)       From Wikipedia, the free encyclopedia               
       Rosemary Brown (27 July 1916 - 16 November 2001) was a spirit medium who claimed that dead composers dictated new musical works to her. She created a small media sensation in the 1970s by claiming to produce works dictated to her by Franz Liszt, Johannes Brahms, Johann Sebastian Bach, Sergei Rachmaninoff, Franz Schubert, Edvard Grieg, Claude Debussy, Frédéric Chopin, Robert Schumann and Ludwig van Beethoven. 

 //
 [edit] Life Brown claimed to have been only seven years old when she was first introduced to the world of dead musicians. A spirit with long white hair and a flowing black cassock supposedly appeared and told her he was a composer, and would make her a famous musician one day. Rosemary did not know who he was until, about ten years later, she saw a picture of Franz Liszt. Many other members of Brown's family were allegedly psychic, including her parents and grandparents, and she herself displayed psychic powers at an early age. She told her parents of events before her birth, and when asked how she knew, she replied that her 'visitors' had told her.
    
 Franz Liszt, one of the deceased musicians Brown claimed to have communicated with
 
 
 Liszt apparently did not reappear until 1964, by which time Brown had married and brought up two children. Living in a Victorian terraced house in Balham, South London, she was now a seemingly unexceptional middle-aged widow. Before 1964 she had paid little attention to music and had had little instruction in it. After the Second World War she had bought a second-hand piano and taken lessons for a year. But a neighbor, once a church organist, was not impressed. "She could just about struggle through a hymn," he said. Then in 1964 Liszt 'renewed contact' and original compositions began flooding in from great musician s in the past. Mrs Brown transcribed pieces from Johannes Brahms, Johann Sebastian Bach, Sergei Rachmaninoff, Franz Schubert, Edvard Grieg, Claude Debussy, Frédéric Chopin, Robert Schumann, Ludwig van Beethoven, and, of course, Liszt himself. These included a 40-page Schubert sonata, Fantaisie Impromptu in three movements by Chopin, 12 songs by Schubert, and  two sonatas by Beethoven as well as his 10th and 11th Symphonies, both of them unfinished.
 Mrs. 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. Others, like Chopin, told her the notes and pushed her hands on to the right keys. Schubert tried to sing his compositions to her "but he hasn't got a very good voice". Beethoven and Bach simply dictated the notes - a method she said she disliked since she had no idea what the finished product would sound like. They all spoke to Brown in English, which she stated did not surprise her. "Why shouldn't they go on learning on the other side?" she asked.
 
  Criticism The opinions of musical critics were varied on the merit of Rosemary's transcriptions. But most agreed that in their style they bore a great resemblance to the composers' published works. Forgeries and imitations had frequently been made in the past, but considerable musical knowledge is thought to be required for this. Mrs. Brown maintained that she had never had any musical training aside from a few piano lessons. It was suggested that she may have had advanced musical training but then forgotten it in a bad case of amnesia. This suggestion was, however, described as preposterous by the Browns' family doctor. Brown's musical skill was such that she was unable to play many of the pieces she claimed had been dictated to her.
 Rosemary was thoroughly investigated by both musicians and psychologists. None could find any way in which she could be cheating. Other explanations were put forward. One was that the composers had left behind them unknown, written music and that Rosemary was able to read these sheets, unwittingly using a form of telepathy. Another suggestion was that she picked up music from people around her by telepathy. However, she did not spend her time in the company of musicians who might have been composing works in the manner of Bach and Brahms. Of the music itself, Richard Rodney Bennett, the British composer, said: "A lot of people can improvise, but you couldn't fake music like this without years of training. I couldn't have faked some of the Beethoven myself." Hepzibah Menuhin, the concert pianist and sister of Yehudi Menuhin, was also impressed. She insisted: "There is no question but that she is a very sincere woman. The music is absolutely in the style of these composers."
 Alan Rich, music critic of New York magazine, took a different line. Having heard a privately issued record of piano pieces allegedly by the spirits of several dead composers, Rich concluded that they were just sub-standard reworkings of some of their better-known compositions.
  In 1969 she was put to a test by the British Broadcasting Corporation, who set her at a piano where she waited for the spirit of Liszt to appear to her. In due course she produced a piece, supposedly dictated by Liszt. As it proved too hard for her to play, another pianist was engaged to play it. The piece was subsequently studied by a Liszt expert, who said it had definite similarities to the great composer's work.
  A recording of some of the music produced by Brown (The Rosemary Brown Piano Album) was released, and various books by her (including Unfinished Symphonies: Voices from the Beyond) were published.



>From About.com
Rosemary Brown and Franz Liszt (et al.) Rosemary Brown surpassed even Curran with her artistic accomplishments, composing music, she claimed, through as many as 20 dead composers, many of them very well known. Born to a mother who was said to have psychic gifts, Rosemary claims that at age seven a white-haired spirit appeared to her and told her that she would become a famous musician. It wasn't until 10 years later that, seeing his picture in a book, she realized the spirit was that of Franz Liszt. Despite the prophecy, Rosemary never became proficient in music, only taking a few piano lessons. In 1964, Rosemary, then a middle-aged British widow with two children, was again contacted by the spirit of Liszt. And he apparently brought some friends along. Rosemary began composing music through the guidance of such legendary composers as Bach, Chopin, Stravinsky, Schubert, Grieg, Debussy, Rachmoninoff, Liszt - even finishing Beethoven's Tenth and Eleventh Symphonies. 
The critical assessment of Rosemary Brown's work is mixed. While all critics agreed that the compositions were definitely in the style of the composers to which they were attributed, some were very impressed with the works, finding several compositions to be subtle and complex. Other critics, however, argued that they were just reworkings of the composers' known works, although they admitted that it would take a person of substantial musical knowledge and training even to pull off this feat - which Rosemary did not have. In fact, she had difficulty even playing many of the compositions she wrote down. 




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