The city theatre of Neisse and Plauen gave him a position as a second concert master. In 1929 Jary was accepted at the Staatliche Akademische Musikhochschule at Berlin, meanwhile he made money playing as a pianist at cafés or movies. Inn 1931 he received the Beethoven-prize of Berlin. During the Nazi years When Jarcsyk delivered his graduating concert on 8 February 1933, he got bullied by members of the Kampfbund für deutsche Kultur. Paul Graener, the new director of the Stern’sches Konservatorium denigrated his concert as „...
culture-bolshevistic musical stammer of a Polish Jew“! Jarcsyk had to go underground for some time and used as pseudonym Jackie Leeds for arrangements and Max Jantzen for chansons. Recognizing that his name was a hindrance to his career, he changed it to Michael Jary. Sinfonic-type of music was his strength. But after he composed his first musical score for a movie,Die große und die kleine Welt, he quickly became a secret tip among the professionals. The multiple possibilities of sound track got him interested.
Swing-arrangements and Jazz were part of his repertoire in spite of the governmental dictats. Among others he originates a cyclus of musical zodiac interpretations. He became an expert of jazz and swing for the thirties. In 1938 he had his first hit in popular music, Roter Mohn. As the director of the Szymanowski-Gedächtniskonzertes in Berlin he was invited by Ernest Ansermet to Genf.
However, the Nazi authorities denied him the exit visa. Forced to stay in Germany, he wrote, often with the lyricist Bruno Balz, songs for movies that became hits, including: Ich weiß, es wird einmal ein Wunder geschehn and Davon geht die Welt nicht unter. After WWII Shortly before the end of WWII Jary had founded his own ensemble. Already 19 days after the capitulation his group became the basis for the new Radio Berlin Tanzorchester (RBT) in East Berlin. He engaged among others Ilse Werner and Bully Buhlan. In 1948 he created his own production company, the Michael Jary-Produktion, and maintains an office during the fifties in New York.
He would have liked to write the musical score for revue films as he had done in 1943 for the movie Karneval der Liebe. In 1949 he moved to Hamburg, and Jary was very successful as movie score followed movie score including „Leise rauscht es am Missouri“, „Das machen nur die Beine von Dolores“, „Mäki-Boogie“, „Heut’ liegt was in der Luft“ and others. These songs were interpreted by artists like Zarah Leander, Rosita Serrano, Evelyn Künneke, Gerhard Wendland, Heinz Rühmann, and Hans Albers. By the end of the fifties, „Mäki“, as he was called by his friends, restricted his output shunning cheap movies. For the German competition for the Grand Prix 1960 he composed for Heidi Brühl „Wir wollen niemals auseinandergehn“.
Nobody believed in this song, but today it is one of the greatest successes of the history of the German Schlager. After this personal victory Jary retruned to his roots. He composed the musical Nicole, that was first shown in Nürnberg in 1963 and would be celebrated later in Eastern Europe. He settled in his final domicile in Switzerland above the Lake of Lugano. He suffered from a three heart attacks in 1973. Michael Jary died on 12 July 1988 in Munich, his grave site is on the Friedhof Ohlsdorf in Hamburg.
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