Maersky, Tadeusz

He graduated from the Faculty of Philosophy of Lviv University and the Conservatory of the Galician Musical Society (GMT, 1911) in piano and composition classes with Lyudomir Ruzhitsky , then in 1912 - 1914 . perfected performing skills at the Leipzig Conservatory under Joseph Pembauer .

In the years 1910-1920. He actively performed as a soloist and ensemble in Poland, including in an ensemble with cellist Desiderius Danchowski , performed a tour (Belgrade, Vienna, Budapest) with his brother Jan Mayersky, a tenor, an artist of the Paris Opera, performed a series of concerts with singer A. Yanovskaya (Lvov, 1923), since 1927 he performed as an ensemble in the trio (along with S. Krebs and A. Shmar). Since 1920 taught piano and piano playing technique at the State Museum of Music and History, since 1927 - professor of higher and concert courses at the Russian Museum of Music and History. In 1931, he founded the Society of Amateurs of Music and Opera. In the 1930s, he was engaged mainly in piano pedagogy and composition, and sometimes appeared in publications as a music critic.

In 1939-1941 and 1944-1955 taught general piano at the Lviv State Conservatory, in 1955 received a special piano class, where he worked until the end of his life. Among his students were A. Dunda, V. Zaderatsky, L. Kompaniets, L. Mazepa, G. Moser, A. Nikodemovich, E. Chekharovskaya .

Maersky's composing work covers various genres of vocal and instrumental music. The first works were written by him in his early years, and already in the 1920s. he, according to contemporaries, reached creative maturity. Maersky's special place among Lviv composers is determined by the fact that in the 1930s he, like Jozef Koffler, became interested in pre-decaphone technique and applied it in his works. Koffler and Maersky were the first two and only at that time not only in Lviv, but also in the whole of Poland, musicians who mastered this innovative composer technique [3]. It was at this time that Maersky wrote the central works, symphonic and piano. “Symphonic studies” for a large orchestra - the composer's main dodecaphone work was performed on various stages, in particular in 1938 in Lviv, and later in Basel [1]. The pre-decaphone works of the composer do not represent any particular group, but are limited to the interval of the 1930s. These are three piano cycles (4 Preludes, 3 Works, Musical Pictures). Maersky applied the dodecaphone technique not at all orthodox: the composer applies not only the developmental methods typical of dodecafonia, but also the methods of development accepted in tonal music [3].

In 1948, the composer was ranked among the "formalists", which was accompanied by criticism with political coloring and troubles for him. Among the works of the postwar period, one of the most significant can be considered the second Concert for piano and orchestra. In his works of this period, he returned to tonality and more explicit genre-everyday relations.

Despite the fact that at different stages of his work, his music and compositional technique underwent significant changes, Maersky's style is a holistic and quite individual phenomenon. His sphere is lyrical and dramatic. This tends to lead to non-programmed instrumental music (there are no choral works at all) and to genres that provide for the possibility of more personal expression: concerts for a soloist and orchestra, plays for individual instruments (piano, organ, violin) or works for a chamber ensemble. In 1940-1950, Maersky was perhaps the only Lviv composer to continue to consistently and fruitfully develop these genres [3].

Most of Maersky’s works have tonal harmony, are strongly chromatized and saturated with modulations. The complex use of various means of creating thematic contrast allows Maersky to achieve an expressive comparison of themes in the form of a large work, and the figuratively emotional content and style of music reproduce the peculiar spiritual world of the Lviv intellectual of the second third of the XX century. This music has its own unique charm and deserves performance and deep study [3].

• muses a comedy on own libretto "Miss Ellis" ("Blue wind"), (1915; 1930);
• music for the play of Rostan's “Far Princess” (score and voices, 1928);
• music for Rybitsky’s performance “Snowy Night” *;
• orchestration of the unfinished opera of M. Leontovich “On the Little Mermaid Velikoden” *;
• for symph. of the orchestra - “Symphonic studies” * (1934), “Nocturne” * (1937), Symphony * (1939), Symphonietta * (1942), Toccata and Fugue * (1947), March on the theme of Polish folk song (1947), work Untitled;
• for piano and symph. Orchestra - concerts: No. 1 * (1934), No. 2 (1946);
• for violin and symphony orchestra - concert (1957-1962);
• for a chamber orchestra - Suite (1930) *;
• piano quintet “In Memory of M. Karlovich” (1953);
• string trio * (1932);
• for cello and piano - Suite (1934-1936) * Sonata (1949);
• for piano - Variations * (1928), Variations * (1950), 4 preludes (1935), Preludes and Fugues * (1934), 3 pieces (1935), Musical Pictures: 3 plays (1948), Suite (1951 - Polonaise, mazurka, Lullaby, Krakowyak), “Expression” (1957), two sketches dedicated to Mrs. M. Krushelnytsky (1963);
• for violin and piano - Orchestra (Lento) (1954);
• for solo violin - Variations (1952);
• 4 works for organ (1953);
• for voice and piano - 4 songs (1935), the song "Sad" (year unknown), Romances * (3 - 1935-1937);
• Methodical works on piano pedagogy: “School of playing the piano”, “Methodology of playing the piano”,
• articles about A. Scriabin, K. Shimanovsky, etc.

* Works mentioned in the literature, whose location is unknown.

Literature:

1. Mendysowa J. List // Ruch Muzyczny. 1964. No. 23;

2. Nikodemowicz A .. Zapomniany kompozytor // Ruch Muzyczny. 1989. No. 12;

3. Kashkadamova N. Fortep'yanne mystery at Lviv: Stats. Review. Materials - Ternopil, SMT ASTON, 2001;

4. Labantsiv-Popko Z. One hundred pianist Galicini. - Lviv, NTSh im. Shevchenko, 2008.

5. Spis spuscisny kompozytorskiej Tadeusza Majerskiego. - Biblioteka Narodowa, Warszawa. - The typewriter.

6. Kalіberda S. Organov Lviv i Galicini, history and privilege. - Lviv, April, 2014.

Electronic sources:

Encyclopedia of Ukraine: Marsky Tadeusz - http://esu.com.ua/search_articles.php?id=57772