Olshanetsky was born in Odessa of Lithuanian Jewish descent into a non-musical family. After showing early talent on the violin, Olshanetsky studied from age 6 to 15 at the Odessa Royal Music School, studying multiple instruments. In 1911 he joined the orchestra of the Odessa Opera and Ballet Theater; notably touring with the ensemble throughout Imperial Russia. He quit to become chorusmaster for a touring operetta troupe in Russia.[2]
During World War I, he was conscripted into the Czarist Army, and served as a regimental bandmaster stationed in Harbin, where there was a sizeable Jewish diaspora. While still serving in the army, he also became conductor of a local Yiddish theater troupe. In this capacity he began composing music. After the war, Olshanetsky joined another touring Russian operetta troupe, and performed in Japan, China, and India. He returned to Harbin in 1921 to find the Yiddish theater scene gone.[3]
Immigration to the United States
In 1922 Olshanetsky emigrated to the United States, where he was introduced to the Yiddish theater scene by his uncle Hyman Mayzel, an actor and playwright.[4] Within two years he had two shows produced: Hayntige Meydlekh (Today's Girls) written by Jacob Jacobs staged at Lenox Theater, and Zise Libe (Sweet Love) co-composed by Louis Gilrod and staged at Rolland's Liberty Theater.[3] He quickly became a major presence in the Yiddish theatre scene, most notably several shows written by Jacob Jacobs and produced by Maurice Schwartz's Yiddish Art Theatre at the Louis Jaffe Art Theatre on 2nd Avenue in the heart of the Yiddish Theatre District. Revivals of most of his works occurred in major cities throughout the United States.[2]
In 1925 he befriended and hired Dave Tarras to play in his show A Night in California which launched Tarras' career. The success of the subsequent recording of the show's songs I Like She and Petrograd led to Tarras joining Olshanetsky's orchestra full-time, and featuring prominently in several other Olshanetsky shows, including Der Litvisher Yankee which unprecedentedly scripted for the clarinet soloist to stand.[3]
Olshanetsky immersed himself in the Yiddish music scene around New York as well. He arranged music for the Forverts Hour radio show, the radio branch of The Forward, and conducted for WABC's Der Tog Program. He formed an orchestra, established a booking office for the orchestra, and played throughout New York City and in the Borscht Belt. He served as the New Concord Hotel's first orchestral and choir director (upon invitation by Arthur Winareck, the establishment would later become the Concord Resort Hotel). His orchestra released several records. Dave Tarras claimed to have played on all these records.[5]
Later years
By the 1930s, Yiddish music had become so popular that Olshanetsky and other composers and performers sought means to guarantee royalties, similar to how ASCAP provided for Broadway and Tin Pan Alley musicians. Because ASCAP denied membership to Yiddish musicians, in 1932 Olshanetsky, along with Sholom Secunda, Joseph Rumshinsky, Abraham Ellstein, Henry Lefkowitch, and Harry Lubin, founded the Society of Jewish Composers. In 1940, the society aligned with the new performers rights' organization BMI, founded to assist artists rebuffed by ASCAP. By 1954, the decline of Yiddish music sales led to the Society for Jewish Composers' dissolution.[3]
Death
Olshanetsky dropped dead of a heart attack in view of an audience of approximately 16,000 persons attending the opening session of the 37th annual convention of Rotary International. He was pronounced dead on arrival at Atlantic City hospital.
Olshanetsky's funeral service was held at the Louis Jaffe Art Theatre on 2nd Avenue. Rumshinsky directed the music, Moishe Oysher (for whom Olshanetsky had composed for the film Overture to Glory) was cantor, and Olshanetsky's Concord Hotel choir sang. A large banner was displayed in the hotel premises with the inscription, Olshy, we loved you too much! (This reference is drawn from his famous song Ikh Hob Dikh Tsu Fil Lib / I love you much too much).[2] Thousands turned up for the funeral and parade down 2nd Avenue.[6]
Hayntige Meydlekh (Today's Girls), lyrics by Jacob Jacobs
Zise Libe(Sweet Love), co-composed by Louis Gilrod
A Night in California (A Nakht in Kalifornya), lyrics by Jacob Jacobs. First staged at the National Theater. Was Dave Tarras' first job in Yiddish theater, and starred Aaron Lebedeff.
Mein Shtetele Belz, lyrics by Jacob Jacobs. Originally written for Isa Kremer, in a failed attempt to persuade her to join their 1930 production of Ghetto Song.[11] This nostalgic homage to the city of Belz become so popular that a city's people would substitute their own city for Belz, and the song is sometimes credited as simply Mein Shtetele.[3] The melody was adapted by Polish lyricist Ludwik Starski for song Warszawo Ma (Oh Warsaw Mine), from the point of view of a Jew living in the Warsaw Ghetto.[12]
Shiroh, lyrics by Maurice Schwartz, from Schwartz's production Shabse Tzvi
^"Obituaries: Anita J. Willens". Washington Jewish Week. March 25, 2021. p. 30.
^Burstein, Pesach'ke (2003). What a Life! The Autobiography of Pesach'ke Burstein, Yiddish Matinee Idol. Syracuse, New York: Syracuse University Press. ISBN0815607849.
^Rozen, Minna, ed. (2008). Homelands and diasporas: Greeks, Jews and their migrations. International library of migration studies. London: Tauris. p. 64. ISBN978-1-84511-642-2.
^Krakus, Anna (October 2020). "What Does It Mean To Be Polish? Europe and Identity in Two Museums in Poland". Curator. 63 (4): 634. doi:10.1111/cura.12391.
