The German synthesizer player Bernd Kistenmacher is the most legitimate innovator of the ?Berlin School of Electronic Music", laying new ways for this sort, and equipping it with a much more innovating character. Bernd Kistenmacher was born in 1960 in Berlin. When he was about eight years old, his father played the piano as a diversion and also tried to teach him. It was not a good idea since the lessons were too complicated and Bernd became bored with this hobby. Nevertheless, his attraction towards the keyboards lasted.
Bernd Kistenmacher was born in 1960 in Berlin. When he was about eight years old, his father played the piano as a diversion and also tried to teach him. It was not a good idea since the lessons were too complicated and Bernd became bored with this hobby. Nevertheless, his attraction towards the keyboards lasted.
The first composition of electronic music that he listened was 'Echoes' by Pink Floyd in 1972. Some time later, 'Ruckzuck' by Kraftwerk. He bought his first synth in November 1982; a Korg Mono/Poly. All his knowledge about synthesizers was gathered by reading books and experimenting with instruments. He never followed any courses.
His musical activity began as a hobby. When it acquired a more professional character, his parents were very tolerant with him, and in fact they animated to progress in that direction. Especially, to his friend Mario Schonwalder its music enchanted to him, and years later it began also to touch sintetizadores and to compose.
Bernd occurred to know in the middle of the Eighties with some tapes of limited distribution, followed by its first album, Head-Vision, that enjoyed an excellent welcome, as much between the public as between the experts.
In 1987, New Artist of Year 1996 by wireless transmitter WDR was chosen Better. Its second disc, Wake up in the Sun, was published that year. In 1988, it touched in direct in the French Electronic Festival (France) and in festival KLEM (Holland). In 1989, he appeared his third work, Kaleidoscope. It touched in the planetarium of Zeiss (Berlin), Dresden (East Germany), and in other Germanic cities. In 1990, it composed music for the theater piece ?Niemandsland?, and published his CD Outlines. In 1991, it sent his Characters album (with Harald Grosskopf) and touched live with him in several concerts. In 1992, Festival acted in the Flanders (Belgium), published Live & Studio tape '92 and reedited in CD its first album. From 1988 to 1996, it directed his own record seal, Musique Intemporelle, founded by he himself, where it published his works as well as those of other musicians.