History knows quite a few cases when a person who could not even connect two words suddenly began to write novels, and not able to draw and never holding a brush in his hands - to paint pictures.
Occultists believe that such a select few receive this skill as if from the other world and begin to act as if on behalf of another genius who has gone into the world.
A particularly striking example of such a phenomenon is the phenomenon of the American half-educated guy James, who, as if on dictation, finished the unfinished novel by Charles Dickens, The Mystery of Edwin Drood.
However, this phenomenon, called psychography, is not limited only to the ability to write something gloriously under someone else's dictation, without realizing what you are doing. There are also much stranger phenomena …
Over the past few decades, several completely incredible cases have been known when a person did not just suddenly start doing something that was completely uncommon for him before, but declared himself as a new incarnation of one or another personality, who are usually called geniuses or greats.
Many researchers suggest that personality traits such as character, intelligence, originality and consciousness do not disappear completely after the death of the physical body, but as if they pass into another reality or, as they sometimes say, into a parallel world.
Scientists believe that life after death continues, and there is a mass of evidence for this, when, for example, a phone call suddenly rings and the subscriber is a person who has recently left the world of the living. There is also the arrival of a postman with a letter or telegram that is called "from the other world."
One of the most mysterious events that still excites the minds and imaginations of contemporaries, haunting them and causing conflicting feelings, happened in England in the second half of the twentieth century.
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In 1966, at a meeting of a spiritualistic circle, an unremarkable woman suddenly played a musical composition on the piano. No one would have attached importance to this event if those present at the session did not know for sure that this woman practically does not know how to play the piano and has no musical education! This woman's name was Rosemary Brown, nee Dixon.
Rosemary Isabelle Dixon was born on July 17, 1916 in London, in the simplest family. From the age of fifteen she had to work, so she did not receive the proper decent education.
Various sources give conflicting facts from her life: some argue that she had absolutely no hearing, which did not prevent her from loving music very much and enjoying it.
Others say that she got her elementary musical education thanks to the fact that her family was next door to the dance hall, and after long persuasion of her parents, Rosemary took piano lessons during the day.
This story with Rosemary is so unusual that it is difficult to believe in it, especially for a person with a skeptical mindset and a materialistic worldview.
There are still controversies around the name of Mrs. Brown: critics and skeptics called her a charlatan, some said that the woman simply found the notes and passed them off as received during "meetings" with the ghosts of musicians of the past, supporters supported the version that Rosemary herself expressed …
In one of her books, Unfinished Symphonies: Voices from Above, Mrs. Brown tells how, as a child, she “saw” an unfamiliar gray-haired man in black flowing clothes.
He introduced himself to her as a musician and said that she would be a medium through which some of the great composers of the past would pass on their creations to humanity.
Because they cannot allow their unpublished works to remain unknown to humanity.
Several years later, Rosemary once saw a portrait of this man and recognized him. It turned out to be Franz Liszt!
When Rosemary Brown first performed the work transferred to her "from the other world", no one paid much attention to this, but over time the number of compositions increased, while they differed from each other in style and character.
When their number began to exceed three hundred, many composers, psychologists, musicologists and even religious leaders became interested in this fact.
Many wanted to prove that they were an ordinary clever deceiver, but - which is typical - no one was able to do this, contrary to expectations and to their greatest regret.
It is curious that Rosemary's strange activity was not limited to music: for some reason only they understandable, among the interlocutors of the woman were such personalities from another world as the artist Van Gogh, the Apostle Paul, the scientist A. Einstein, organist and physician Albert Schweitzer.
In the course of events, Mrs. Brown wrote three books detailing her unusual contacts with the souls of these people.
But to a greater extent, she still had to communicate with musicians. During these unusual meetings, Frederic Chopin, Johann Sebastian Bach, Johannes Brahms, Robert Schumann, Franz Schubert, Edvard Grieg, Sergei Rachmaninov, Ludwig Van Beethoven, Franz Liszt, Claude Debussy, Igor Berli Stravinsky, Hector, Claudio Monteverdi.
Rosemary Brown argued that each composer used his own way of transmitting the next piece. According to her, F. Liszt first controlled her hands when she played several measures, and then offered to write down the notes.
Chopin also transmitted music directly in the game, and only later were the notes recorded - when they were clearly imprinted in Rosemary's brain.
Schubert hummed melodies to her and suggested how to write them down, while Bach and Beethoven simply dictated the notes. Brahms was especially fastidious, forcing him to perform scales for developing fingers several times, since his works required special skill and virtuosity of performance, and only after that he dictated music to her.
Scientists categorically refused to believe all this. They searched hard, where is the catch? Countless investigations and checks have been carried out.
The most famous performers, musicians, critics were involved. Most were inclined to believe that the works that Rosemary recorded and played were truly brilliant!
For a long time and scrupulously compared the style of writing the notes, the manner of performance, but they did not come to a common opinion. The phenomenon, in turn, became interested in the well-known British Air Force company.
In the course of their own investigation, which included the best musicologists, experts and parapsychologists, they came to the conclusion that Rosemary Brown is telling the truth and she is in fact a medium.
Moreover, during the performance, all the specialists noted an incorrect, unprofessional position of the hands.
Music professor Ian Parro from the University of Wales said that the manner of touching the keys betrays a complete amateur, and that such a person simply could not be the author of such creations.
One of the famous English musicians noted that "the style of many heavenly compositions" is impeccable and has the characteristic features inherent in those composers that Rosemary Brown spoke about and whom she called as "dictating" her works.
In general, many copies were broken in these disputes, however, with the remark of the English composer Richard Bennett that such music can only be faked after many years of study, some other musicians agreed.
Many researchers, scientists and occultists asked another question: why did the greatest world-famous masters, geniuses of composing art, choose a woman with rather modest musical abilities to transmit their works?
After all, one could opt for a talented performer who could convey their creations in a more brilliant performance.
However, it is quite possible that it was precisely because of Mrs. Brown's inability to play, but a very great love for music, that she was chosen. After all, if in her place there was a person who masterfully owns a musical instrument, they would not believe him all the more.
And to choose a person who, even if he loved music, but did not know from which side to approach the piano, was all the more unsuitable.
In general, the world scientific community has decided to get to the bottom of the truth.
The well-known psychologist Robert Kastenbaum, having analyzed some of the musical compositions performed by Mrs. Brown, still doubted that they were the works of the authors to whom the performer refers.
According to him, they do not have that sophisticated complex structure and depth of feelings, there are no those harmonious tonal innovations that make you empathize and thrill when listening.
Indeed, during his lifetime, each of these composers, according to R. Kastenbaum, “not only created outstanding music, but also contributed to the development of compositions for piano.
One of the features that made them stand out is their unpredictability in music. Each of their next compositions could become a new asset in terms of their musical sensitivity or technique."
So the psychologist was not only not inspired by these works, but, one might say, even disappointed by the absence of any surprises in the music.
On the other hand, a psychologist is not a musician or a music critic. Is it possible to take his words on faith and consider them the ultimate truth?
In turn, renowned music critic Alan Rich, after listening to several pieces from Rosemary's private collection, expressed his skepticism by remarking that, in his opinion, this was more like an unprofessional rework of famous compositions.
Some psychologists and parapsychologists, analyzing this phenomenon, inclined in their reasoning to the fact that all the creations in question are nothing more than the work of the unconscious mind of Mrs. Brown herself.
However, according to the parapsychologist and musician of the classical school Dominic Scott Rogo: "Psychological science knows very little about our creative abilities, about the nature of creativity and the role of the unconscious in it, so it is essentially impossible to trace the true sources of inspiration."
Despite the controversy whether these are works of famous late composers or Mrs. Brown herself, everyone came to the conclusion that the phenomenon certainly deserves attention. Especially if you take for granted Mrs. Brown's mediumistic abilities and listen to what she has to say about her conversations with the geniuses of the past.
So, in one of the regular sessions Mrs. Brown asked the spirit of F. List why he came to her and brought his friends. To which he replied: “My goal is to help people learn in the brightest, most exquisite form about the existence of another life, to convey to them the confidence that life is endless.
For if people refuse to believe that even after physical death they have a future, it will not be. When a person comprehends the mystical depths of his consciousness, he will be able to more fully enjoy the heights achieved”.
At the age of 85, on November 16, 2001, Rosemary Brown left this world for another world, to her mentors, leaving behind herself the title of “the most mystical woman-medium of the 20th century,” which, most likely, she herself did not know.