Sonsuzluğa bir taş at…
Mert Morali (b. 1992) is a Berlin-based composer originally from Izmir, Turkey. He holds Bachelor’s degrees in Theory-Composition from Bilkent University and in Composition from Hochschule für Musik “Hanns Eisler” Berlin. During his Bachelor’s, he studied at Conservatorio Superior de Vigo for a semester as an exchange student. He studied composition under the supervision of Turgut Pöğün, Tolga Yayalar, Juan Eiras, and Wolfgang Heiniger. His compositions mainly explore the linguistic aspects of music. Also, he relates his compositions to the themes like linguistics, autobiography, poetry, and politics.
His piece, Sonsuz Gece (Endless Night) won the first prize in International Young Virtuosos Competition in Bulgaria. The performance of his piece, Sonsuzluga bir tas at… (Throw a stone into the eternity…) won the first prize in Eisler Komponisten Forum und Aufführungspreis (Eisler Composers Forum and Performance Prize).
He attended composition workshops, led by Martin Arnold, Giorgio Battistelli, Isabel Mundry, Marcel Reuter, Kurt Rohde, and Tolga Yayalar.
His pieces have been heard at Bilkent New Music Days (Ankara), Sesin Yolculugu Young Composers’ Festival (Istanbul), Istanbul-Essen Kulturhauptstadt November Music (Essen), Accademia Musicale Chigiana Composition Masterclass Concert (Siena), Klasik Keyifler Cappadocia Music Festival (Mustafapasa), Zoom+Focus Konzert (Berlin), Eisler Komponisten Forum und Aufführungspreis (Berlin), Composition Summer School Luxembourg (Luxembourg), Bilgi New Music Festival (Istanbul), Array Young Composers’ Workshop Concert (Toronto), and Forum Neue Musik (Berlin), performed by professional ensembles such as the Array Ensemble, Hezarfen Ensemble, United Instruments of Lucilin, and Plug.
Currently, he is pursuing his Master’s in Composition degree at Hochschule für Musik “Hanns Eisler” Berlin, under the supervision of Eun-Hwa Cho.
Sonsuzluğa bir taş at… (Throw a stone into the eternity…) was a graffiti on the surface of a wall in Kadikoy. The referred Turkish sentence carries actually a double-entendre in the original language:
a) Propelling a stone by sudden forward motion to harm, disturb, or intervene the objectification of the concept of eternity.
b) Propelling a stone by sudden forward motion, not necessarily by aiming at a specific object, to establish eternity in a poetical sense or surpass the existing reality for a “better” one.