Our Music Wilde Lieder Marx.Music Competition Winners Mert Moralı Born 1992 Izmir/Turkey, currently Berlin/GermanyWilde Lieder Marx.Music Duo Category Prizewinner Mert Moralı 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. Also during his Bachelor's, he studied at Conservatorio Superior de Vigo for a semester and at Royal Academy of Music, London for a term as an exchange student. He studied composition with Turgut Pöğün, Tolga Yayalar, Juan Eiras, Wolfgang Heiniger, and Edmund Finnis. He relates his compositions to themes such as linguistics, autobiography, poetry, urban planning, Marxism, and politics. He attended composition workshops, led by composers including Mark Andre, Martin Arnold, Giorgio Battistelli,and Isabel Mundry. His music has been heard in Germany, Italy, Luxembourg, Turkey, UK, and USA and performed by professional ensembles such as Array Ensemble, Ensemble Dal Niente, Hezarfen Ensemble, United Instruments of Lucilin, Duo LuKo, and Plug. Currently, he is doing his Masters in Composition at Hochschule für Musik “Hanns Eisler” Berlin, under the supervision of Eun-Hwa Cho. Die Produktion des Bewusstseins (8’)Orchestration: Soprano + tpt The text I worked on for the piece, which is a quotation from the German Ideology, a collective work of Karl Marx and Friedrich Engels, was my entry ticket to Marxist philosophy. Since then, I have always been fascinated by the way they translated the rage of exploited classes onto a multi-layered theory that has changed the world. Therefore, the idea of translation became the primary focus of the process of conceptualising the piece. While conceptualising the piece, I worked also on the English and Turkish translations of the text, I regarded the original German text as the primary source, the English translation as the intellectual source since it is the language which most helps me to feed my intellectual needs, and the Turkish translation as the political source, as I started to learn about politics in my mother tongue, at first hand. The relationship between the soprano and trumpet is mostly constructed on the principal of translating one into another. So, by using this multilingual and multidisciplinary concept, I tried to translate the structural beauty and the intellectual violence of the text into an aesthetical medium.