Rosemary Brown played unheard compositions by classical composers who had long departed from the 60s to the 80s.
Throughout her career, the homemaker created a collection of more than 300 musical compositions spanning different styles from the classical era to the modern age.
Brown, born in 1916, was known for her persistent claims of being able to feel spirits.
Seated at a desk, she diligently transcribes her thoughts onto a music manuscript, her contemplative expression clear as she supported her head with her left hand.
In the memoir "Unfinished Symphonies," published in 1971, it was recalled that a distinguished figure told her, "When you grow up, I will come back and give you music."
During her early years in London, Brown led a humble existence within the middle class, all while maintaining connections with the spiritual world. At 15, she went on her professional journey, eventually tying the knot in 1952 and welcoming two children into her life.
Accounts regarding the depth of her musical education differ, with many indicating that it was relatively modest.
In 1961, tragedy struck as Brown lost her husband, leaving her as the sole provider for her two young children.
Brown was compelled to stay home and take a break after an incident occurred while she was at work in 1964. She chose to spend her days seated at the piano, seeking ways to occupy her time.
Brown said in her memoir, "Instead of my finding a piece of music and playing it for myself, I found [Liszt] was guiding my hands at the piano...and it was music that I had never heard before."
Most of the compositions she received were crafted by classical music maestros, with a sprinkling of pieces from John Lennon the jazz pianist Fats Waller.
The British Library continues to keep numerous manuscripts to this day.
In Brown's words, many composers collaborated with her in unique ways. While artists such as Liszt and Chopin directed her hands on the piano, Beethoven and Bach reportedly favored her presence at a table with paper and pencil.
Among the piano mentors, Brown reportedly received guidance in finger exercises from Brahms, honed her style and technique with Rachmaninov, and sought Liszt's advice on expression and interpretation.
The British audience quickly noticed Brown's work during the 1960s and 1970s, eliciting mixed reactions to her claims.
