Hello. As I pondered how to proceed with these e-mails, I thought of a number of areas or aspects of Frances’ life or her works, to give one area or aspect of her for each e-mail. Later I realized that a number of these topics about her, ideas for an e-mail, could–each one–fill literally 50 or 100 pages, far more than would fit into an e-mail. F.R.H. as a musician is an example: I could fill 150 pages on just that one aspect of her. Now I realize that these e-mails should give only examples, few and brief, to give a glimpse or introduction, wanting to encourage interest to learn more.

   In a beautiful letter that Frances Ridley Havergal wrote to John Curwen, in which she described a work to teach Tonic Sol-fa music to teenage girls and young women as a means to reach them with the gospel of Christ (found in Letters by the Late Frances Ridley Havergal, London: James Nisbet & Co, 1885, original book pages 68–69, page 165 of Volume IV of the Havergal edition), she ended with these words: “. . . bringing them within hearing of loving and sympathising words, and of the One name which is sweeter than any music.”

   In another statement posthumously quoted in the Prefatory Note to Loyal Responses with music (on page 1177 of Volume V of the Havergal edition), Maria V. G. Havergal quotes this statement by Frances concerning “Sacred Song:” “I am delighted to have an opportunity of adding to the very meagre supply of Sacred Songs, and I hope they will be sufficiently tuneful and sufficiently easy for drawing-room singing. Some of those extant are very pathetic and dismal affairs! Why put off joyous singing till we reach the happier shore? Let us sing words which we feel and love, with clearness of enunciation, and looking up to meet His smile all the while we are singing. So shall we loyally sing for our King, yes for Him, Whose voice is our truest music.”

In research on F.R.H., among her manuscripts and papers, a manuscript book was found, in F.R.H.’s handwriting, with the title on the front cover, “Words of Songs & Pianoforte Pieces 1863.” This book had the texts of vocal music (duets, and songs for contralto), and a list of piano pieces that she studied. This was only one year, 1863, only a glimpse––but a serious glimpse––of the music she studied. The list of piano pieces included scores requiring a very advanced technique (notably a Fantasy, Op.9, and Variations, Op.72, by Sigismond Thalberg, and pieces by Stephen Heller and Ignaz Moscheles). The list also included twelve Sonatas by Beethoven, including his Op.7, both Sonatas of his Op.27, and his Op.110. Many other details could be given here, which strongly demonstrate a very advanced technique, both as a pianist and as a composer (she was a consummate master of harmony).

   Frances’ sister Maria wrote, in Chapter VI of Memorials of Frances Ridley Havergal by Maria Vernon Graham Havergal (London: James Nisbet & Co., 1880), on page 24 of Volume IV:

   It may not be out of place here to mention that such was the strength of her musical memory, that she would play through Handel, much of Beethoven and Mendelssohn, without any notes. A pupil of Beethoven thought her rendering of the Moonlight Sonata perfect; her touch was instinct with soul, as also was her singing.

Her sister also Maria wrote this next account, in Chapter XII (“Memoranda of a Swiss Tour with F.R.H.” by her sister M.V.G.H.) in Swiss Letters and Alpine Poems edited by her sister, Jane Miriam (Havergal) Crane (London: James Nisbet & Co., 1881), on page 361 of Volume IV:

   At Champéry the delightful ministrations of Mr. Rogers, the chaplain, new friendships, and Frances’ incessant ministries, whether by song, or conversation, or Bible reading, filled up every day. One evening, after playing the Moonlight Sonata, an aged German lady assured me that it quite recalled Beethoven’s own rendering of it.

This was 1876, thus forty-nine years after Beethoven died.

   Forty-eight years after Frances died, Thomas Herbert Darlow published a biography of her, Frances Ridley Havergal A Saint of God (London: James Nisbet & Co., 1927). This is a valuable book, because F.R.H.’s nephew, Rev. Alfred Havergal Shaw (1859–1939), and her niece and god-daughter, Frances Anna Shaw (1856–1948), gave Darlow their recollections and access to manuscripts. F.R.H. had spent much, extensive time in their home (Winterdyne, the home of Frances’ sister Ellen and her husband, Giles Shaw, in Worcestershire). Frances Anna Shaw (also F.R.H.’s god-daughter) was 23 when Frances died, and Alfred was 20. The details in this book are trustworthy, because of their close collaboration with Darlow. This was written in this book:

   She had no keener pleasure than to render on the piano the best of Bach, Handel, Haydn, Beethoven, Mendelssohn, Schumann, and Schubert. One of her poems is an attempt to translate into words the famous “Moonlight Sonata.” She described music as the only universal language, understood by men of every tongue and by the angels, too.

   Frances wrote this in a letter in 1870, found in Memorials of Frances Ridley Havergal (London: James Nisbet & Co., 1880), pages 104-105 of the original book, page 31 of Volume IV of the Havergal edition:

   It does seem wonderful that God should so use and bless my hymns; and yet it really does seem as if the seal of His own blessing were set upon them, for so many testimonies have reached me. Writing is praying, with me, for I never seem to write even a verse by myself, and feel like a little child writing; you know a child would look up at every sentence and say “And what shall I say next?” That is just what I do; I ask that at every line He would give me, not merely thoughts and power, but also every word, even the very rhymes. Very often I have a most distinct and happy consciousness of direct answers. As you use “Havergal’s Psalmody” I thought you might be interested to know a little more about my dear father, so will you accept a “Memorial” of him. [This was likely the biography Records of the Life of the Rev. William Henry Havergal, M.A. by his eldest child, Jane Miriam Crane.]

   Literal “singing for Jesus” is to me, somehow, the most personal and direct commission I hold from my beloved Master; and my opportunities for it are often most curious, and have been greatly blessed; every line in my little poem “Singing for Jesus” is from personal experience. . . .

   I was so overwhelmed on Sunday at hearing three of my hymns touchingly sung at Perry Church. I never before realized the high privilege of writing for “the great congregation”; especially 633, “I gave My life for thee” to papa’s tune “Baca”; the others were 120 and 921 in “S.G.G.” [This was Songs of Grace and Glory, a richly valuable hymnbook, edited by Charles Busbridge Snepp and F.R.H. (she was the music editor, over 1,100 hymn scores).]

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