Herman Wohl was very important in the musical development of American Yiddish theater during its early stages. His songs were written for operettas with religiously related themes or subjects, and with European settings. Before coming to America as a young man, Wohl directed synagogue choirs for prestigious cantors; and in America he pursued a dual career both as a Second Avenue songwriter and composer, and as a synagogue choirmaster and liturgical composer. For many years he conducted the choir for the most widely acclaimed and revered cantor of the time—and probably of all time—Yossele Rosenblatt. His many cantorial-choral compositions for Sabbath, High Holy Days, and Festivals remain in manuscript.
The blossoming of Herman Wohl's Second Avenue career coincided with that of the American Yiddish theater itself around the turn of the century in New York. Many of his successful songs were musical collaborations with Arnold Perlmutter. This symbiotically productive "Perlmutter and Wohl" duo, a recognized team as early as 1903, eventually became a ubiquitous fixture of Second Avenue—working at first with the playwright Moshe Hurwitz and then with numerous lyricists and librettists. They wrote their own lyrics as well. Among their most celebrated operettas is "Dos pintele Yid" (The Essence of Being a Jew). After the 1920s, their teamwork diminished, and each reverted to solo writing.
The blossoming of Herman Wohl's Second Avenue career coincided with that of the American Yiddish theater itself around the turn of the century in New York. Many of his successful songs were musical collaborations with Arnold Perlmutter. This symbiotically productive "Perlmutter and Wohl" duo, a recognized team as early as 1903, eventually became a ubiquitous fixture of Second Avenue—working at first with the playwright Moshe Hurwitz and then with numerous lyricists and librettists. They wrote their own lyrics as well. Among their most celebrated operettas is "Dos pintele Yid" (The Essence of Being a Jew). After the 1920s, their teamwork diminished, and each reverted to solo writing.
Herman Wohl was very important in the musical development of American Yiddish theater during its early stages. His songs were written for operettas with religiously related themes or subjects, and with European settings. Before coming to America as a young man, Wohl directed synagogue choirs for prestigious cantors; and in America he pursued a dual career both as a Second Avenue songwriter and composer, and as a synagogue choirmaster and liturgical composer. For many years he conducted the choir for the most widely acclaimed and revered cantor of the time—and probably of all time—Yossele Rosenblatt. His many cantorial-choral compositions for Sabbath, High Holy Days, and Festivals remain in manuscript.
The blossoming of Herman Wohl's Second Avenue career coincided with that of the American Yiddish theater itself around the turn of the century in New York. Many of his successful songs were musical collaborations with Arnold Perlmutter. This symbiotically productive "Perlmutter and Wohl" duo, a recognized team as early as 1903, eventually became a ubiquitous fixture of Second Avenue—working at first with the playwright Moshe Hurwitz and then with numerous lyricists and librettists. They wrote their own lyrics as well. Among their most celebrated operettas is "Dos pintele Yid" (The Essence of Being a Jew). After the 1920s, their teamwork diminished, and each reverted to solo writing.
The blossoming of Herman Wohl's Second Avenue career coincided with that of the American Yiddish theater itself around the turn of the century in New York. Many of his successful songs were musical collaborations with Arnold Perlmutter. This symbiotically productive "Perlmutter and Wohl" duo, a recognized team as early as 1903, eventually became a ubiquitous fixture of Second Avenue—working at first with the playwright Moshe Hurwitz and then with numerous lyricists and librettists. They wrote their own lyrics as well. Among their most celebrated operettas is "Dos pintele Yid" (The Essence of Being a Jew). After the 1920s, their teamwork diminished, and each reverted to solo writing.
Bio by: Ed
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