From Australia’s Jewish Past: Esther Kahn – one of Australia’s most successful women composers and the first music therapist in Australia
Esther was born in 1877 in London of German/Jewish descent. At the age of five, she made her first public appearance in London as a pianist and won a scholarship to the Guildhall School of Music – an amazing opportunity for such a young child – but unfortunately, she was not able to take it up as the family moved to Sydney in 1883, just before her sixth birthday.
Esther Kahn
Once settled in Sydney, Esther began piano lessons with Josef Kretschmann, a music teacher and conductor who had arrived in Australia in 1876. By the age of twelve, Esther was performing – from memory – recitals at the Sydney Town Hall. Her first compositions were published in the 1890s, and were performed by her, her sister Bessie – an accomplished pianist – and other up-and-coming musicians. Esther went on to be a teacher, composer of chamber music, solo pianist, and organist – being most proficient in both instruments. Many of her students performed her compositions and a number of her works were published in the 1894 Australian Musical Album.
Esther’s first stand-alone published piano work – at the age of 16 – Intermezzo op. 25 – was composed in 1906 and dedicated to her teacher and mentor, Josef Kretschmann. (In 1923, a club was established by some of his students to perpetuate Josef’s memory. They organised regular concerts and encouraged young musicians.) Between 1894 and 1949, Esther composed 23 piano solos, her life continuing to be one of composing, as well as composing music for poetry, publishing and performing. One particular piece – Coronation March – was dedicated to Her Excellency Countess Dudley in 1911. This work was later published in England as “Hearts Desire,” and has run into many editions. Her other works published in England were “Antoinette,” an old-world minuet and “Simple Histoire,’’ both for piano. One other well-known work is “Requiescat”, which was composed especially for Armistice Day in memory of the Australian soldiers who fell in World War II, and which has often been sung by school choirs at Sydney Town Hall Festivals of Remembrance.
Esther became very involved with the Sydney Lyceum Club, an association formed for women interested in the arts, sciences, social concerns and the pursuit of lifelong learning. She was part of the music and art crowd in the Palings store in George Street Sydney, which had been established in 1890. The store became a concert venue as well as where music lessons were taught until the Conservatorium of Music in Macquarie Street was built. Esther would also hold musical evenings in her home.
Unfortunately, the Kahn family archives were lost during a cyclone in 1996. However, various records have been kept in safe places and the New York Journal of 20 January 1903, wrote of a new way of curing diseases, whereby the education of practitioners should include the need for skills in music and in psychology, as well the practitioner having a suitable personality. Esther had a very musical family in the US that she was in touch with but, it is not known, whether it was through this family link, that Esther became aware of music therapy and, together with a group of interested people, she set up an Australian association named the International Society for Musical Therapeutics (ISMT), stated as “an Australian branch of the American Society of the same name.” It is not clear as to when the organisation was established – either 1922 or 1924. It was, however, formally incorporated as a limited company in 1927. The Memorandum and Articles of the ISMT stated the aims of the Society as follows:
“to advance the cause and practice of musical therapeutics (being a system of treating the sick by means of music, including mental, nervous and abnormal cases) by personal service, by distributing literature on the subject and by engaging speakers of workers.”
Esther took on the presidency of the society and, together with a group of like-minded musicians, developed a training program including a correspondence course in “Voice Culture and Breathing” plus an advanced course in musical therapeutics. A booklet entitled “Music-A Life Renewer” was also published.
On 21 August 21 1926, Esther spoke at the Lyceum Club in Sydney and described the effectiveness of using music for depression. She referred to her ongoing work at Gladesville Hospital and the enthusiastic response from the medical staff. Knowing how important Esther’s music was in the treatment of her patients, as well as music therapy being fundamentally important to her as a composer, it is important to understand why her compositions have been written in the style in which they exist. The piano works are very formally structured, and the phrases are always of a symmetrical length – either two, four or eight bar structures. As Esther’s pieces were written to be played by a pianist, they are of a medium to challenging level of difficulty.
Esther was part of a generation of artists who had the opportunity to create a new culture. Australia at the turn of the century was one of the youngest civilised countries and many Europeans chose to make it their home. Musicians and artists were part of this new wave and they could either create an original Australian voice, by either exploring indigenous music or remaining with the English and European traditions they had brought with them. Most, including Esther, preferred to write in a style that reminded her of the European tradition which had been the ground roots for her musical upbringing.
In 1962 Esther passed away leaving a most wonderful music legacy. Interestingly, Esther’s US cousin, Gus Kahn composed the popular American song “Blue Moon” and another cousin, Percy Kahn, accompanied Mischa Elman (an internationally renowned violinist) on his first Australian tour in 1912.
The AJHS acknowledges the following references in the preparation of this story.
The Australian Music Therapy Association – The historical account outlined in this story is based on the archives of Esther Kahn that were researched by the late Ruth Bright AM in 1987-1988, and on a search by Ruth Bright of the NSW Government Archives at the Dept of Corporate Affairs, and discussions with Esther Kahn’s niece.
Wirripang – Home of Australian Composers; Australian Music Centre – Composers’ Series – extracts taken from biographical notes by Jeanell Carrigan, Associate Professor in the Collaborative Piano Unit at the Sydney Conservatorium of Music, University of Sydney.
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I am unsure about Gus having anything to do with ‘Blue Moon’. It seems he was the lyricist to many other songs, some of which were ‘hits’. That Percy and Esther Kahn were both born in London suggests some link but that between them and Gus seems very tenuous. Is there some way confirmation can be found?