After being with Zeidl
Rovner, M. wrote several musical fragments, which he
alone hadn't been paid any attention, and at first in
1908 -- already learning in a conservatory -- entered
into a special class for theory of composition, took two
courses in Harmony with V. F. Kalfaty, and a course in
counterpoint with A. K. Lyadov, later studying with
Prof. Sokolov, then counterpoint with prof. Vitol, and
instrumentation -- with Maximillian Steinberg, and A. M.
1914 -- completed the
composition class in Peterburg's conservatory, and on 2
October 1915 he received his diploma as an "early"
M.'s compositions, which he
had written being in the conservatory and then until
1917, performing in a concert of the Society of Jewish
Folk Music, for which M. became aroused by Kiselhoff.
The first concerts of M.'s
creations took place on 8 October 1927 in a small hall
of the conservatory, the second -- at first on 12
November 1921. On 6 June 1922 there was a concert of
M.'s compositions in the State Philharmonic with the
participation of the composer Joseph Achron et al.
ON 16 May 1923 in the large
dramatic theatre in Peterburg, there was staged M.'s
opera "Di himlen brenen, text by the composer, literary
adaptation by M. Rivesman, direction -- V. F. Rapoport,
settings according to the eskizn of V. A. Stshuka,
M. as conductor" [the opera treated the Haskalah in the
sixtieth year of the nineteenth century].
M. wrote music for Richard
Ber Hoffman's "Khalum yakov" and Leivick's "The Golem",
staged by "Habima", and the following productions of the
Kharkov Jewish State Theatre: "Yungen" by Fininberg
(1927-28 season), "Amerikaner geter" by Sinclair
Hoffstein, "Der beserer mentsh" by Haznkveler, "HIrsh
Lekert" by Kushnirov, "Di letste" by Reznik (1929-30), "Blut"
by Orshansky (1929-30), "Nit gedeyget" by Markish
(1930-31, also in a Russian theatre), "Kadren" by
Mikitenko, and "Julis" by Daniel (1931).
He also wrote the usic for "Groza"
by Ostrovsky, performed in a Russian theatre, and the
opera "Der nayer veg" [stands for the transition from
Jew to land labor].
Of M.'s compositions there
were printed: "In cheder", "Unter di grininke boymelekh"
by Bialik, "Iber di hoyfn" (every edition with Latin
characters in 1914 in Leipzig, by the Society for Jewish
Folk Music), a vocal suite (ten songs), words by I. L.
Peretz, ("Culture" Publishing House, Kiev, 1921), "Al
Htspur" by Bialik, the same in M.'s German translation,
"Ed anh", "Agd", ("Universal Edition", Berlin, 1922),
six songs in the words of Jewish proletariat poetry,
Moscow, 1926, "Shulamis", words by Buturnik, (edition "Muzsektor",
Moscow, 1929), "Es broyzt a shvere arbet" by Samabatnik,
(edition" Muzsektor", Moscow, 1929), "Variatsye un fugo",
"Folksshtimung" and "Agdh", ("Ukrainian State Publishing
House), Kharkov, 1929).
Many compositions by M. were
still not published in print.
Sh. E. by
Mendl Elkin --
Sholem ash's "got fun nekoma" iz zikh nukm an a
holender rabiner, "Forward", N. Y., 28 July
H. Kon -- Zaye
yidishe muzik, "Literarishe bleter", Warsaw, 41,
Shaul -- Vegn
kompozitor milner's muzik tsu peretz markishes
dramatishe poeme "nit gedayget", "Morgn fryahayt",
N. Y., 29 December 1930.
Y. Lyubomirski -- "Melukhisher
yidisher teater in ukraine", Kharkov, 1931, pp.
Dr. Bramitsh -- Dos
yidishe teater in yor 1932, "Prese", Buenos
Aires, 1 January 1933.