He learned with Ludomir Różycki and others at the GTM Conservatoire, as well as in Leipzig. He taught a piano class at Lwów’s PTM Conservatoire (1921–31). In 1927 he set up Lwów Trio (with violinist Stanisław Krebs and cellist Adam Szmar), with which he often appeared as a pianist. He also frequently performed with his brother-in-law Dezyderiusz Danczowski (husband of Jadwiga née Majerska).
and was, apart from Koffler, one of Poland’s first artists to write twelve-note music, including such works as Symphonic Études(1938), Suite for cello and piano (1936), and piano pieces (1935). In 1930, Lwów’s Grand Theatre presented the world premiere of his music comedy Miss Ellis (The Blue Wind) and the premiere of Juliusz Słowacki’s Kordian (dir. Leon Schiller) with Majerski’s music. Most of his works were written after 1935, which is probably why he was not featured in the 1934 ‘Concert of Lwów composers’. Despite his interest in modern musical trends, he was not a member of ISCM’s Lwów Branch and most likely did not belong to Koffler’s closest circle.
of which Koffler was the editor, describes the latter as ‘a modernist’, ‘an extremist’, and ‘a revolutionary’, which can be taken as praise since Majerski was an avant-garde composer himself. Though he admitted that they differed in their views on art, Majerski highly valued Koffler’s uncompromising attitudes. Majerski claimed that, despite the thirteen years of Koffler’s work in Lwów, his achievements remained underappreciated. Majerski and Koffler worked at the same institution in 1940–41 (the LGK Lviv State Conservatoire, established by the Soviet authorities). After 1945, Majerski stayed in Lwów (Lviv, Ukrainian SSR) and declared Polish nationality. He again took up a teaching post at the LGK Conservatoire.