Looking for the perfect gift for a music lover? Look no further than the KUSC Apple Gift Card! This gift card offers an incredible user experience, allowing recipients to access their favorite music, podcasts, and more with ease. Whether you’re shopping for a friend, family member, or colleague, the KUSC Apple Gift Card is sure to impress. So why wait? Get your hands on one today and give the gift of music!
What is a KUSC Apple Gift Card?
– A KUSC Apple Gift Card is a gift card that can be used to purchase music, movies, books, and other digital content in the Apple Store.
Why is a KUSC Apple Gift Card the perfect gift for music lovers?
– A KUSC Apple Gift Card is the perfect gift for music lovers because it allows them to purchase their favorite music and other digital content from the Apple Store.
How can you get your hands on a KUSC Apple Gift Card?
– You can get your hands on a KUSC Apple Gift Card by visiting the KUSC website or by visiting an Apple Store near you.
What are the benefits of using a KUSC Apple Gift Card?
– The benefits of using a KUSC Apple Gift Card include being able to purchase music, movies, books, and other digital content from the Apple Store, as well as being able to use the card towards the purchase of an Apple device.
Can you use a KUSC Apple Gift Card to purchase physical items?
– No, a KUSC Apple Gift Card can only be used to purchase digital content from the Apple Store.
2. With the KUSC Apple Gift Card, users can explore various genres of music, discover new artists, and enjoy ad-free streaming of their favorite tracks.
All summer at the Hollywood Bowl , Gustavo Dudamel showed signs of a new gravitas. Despite the vagaries of the amphitheater, with its typically limited rehearsal time and easily distracted audiences, the Los Angeles Philharmonic displayed in his performances a singular urgency. No note was left to evaporate without consequence in the placid summer air. In the Bowl, the excellently amplified L. Phil was attention getting and immersive. In the natural acoustic of Disney this month, the startling sound of the orchestra turned nuclear. Five days after the gala, on the day the L. Phil began its regular season in the hall, I met with Dudamel after morning rehearsal in the small garden adjoining his office and dressing room. I asked him what was going on. I remember hearing that they would be a few days. Then the virus was supposed to go away in a few months, and I would do my tours. His has been, for as long as he can remember, a life of orchestras. He took up conducting in his early teens. He had never, for a second, stopped. Dudamel had been thinking about taking a sabbatical just before one was unexpectedly forced upon him, turning his world upside down and challenging his engrained optimism. He lost to COVID, he said, some of his closest family in Venezuela, including his grandmother, who helped to raise him. The world in which he lived instantly vanished. Dudamel cooked breakfast. He cleaned. Meanwhile, his goal became to keep the L. Phil going. He took on unfamiliar roles, first by hosting a radio series on KUSC speaking with musicians to whom he is close. He also hosted a TV series for PBS from the Hollywood Bowl, which was followed by a series of streamed concerts filmed on the Bowl stage, without an audience and with an orchestra that was distanced and masked when possible. When not possible, the winds and brass played behind plastic barriers. It had never been like that for me. Before the pandemic, his primary responsibilities with the L. Phil were music making and artistic direction. With the shutdown, he said, the responsibility became a requisite. A need to have a plan. And that was also a great discovery for me. Indispensable classical music for newbies and aficionados alike. Coronavirus may have silenced our symphony halls, taking away the essential communal experience of the concert as we know it, but The Times invites you to join us on a different kind of shared journey a new series on listening. I had always found it wonderful to connect with people that I knew, but this time I went much more deeply in my relations with people. How you do that, how you are, how you create, how you interpret music, all of that goes deeply into your being. Still, Dudamel said he was prepared, that a change had already started for the conductor, who turned 40 during the pandemic. I love to drive. I love to cook. We stay up eating and drinking and talking. That is what makes my life rich. He may have been slower than many other conductors to emerge in the early months of the pandemic, as he took time to process grief, to brainstorm with his L. Phil team and to cook. But by summer , he was leading the Vienna Philharmonic at the Salzburg Festival. Over the following year he conducted in Germany, the Netherlands and Spain, where concert life remained more open than in the U. This summer he became music director of the Paris Opera , which will share the conductor with the L. A Phil. Not only does this put Dudamel at the center of artistic life in the French capital, but it also is another full-time job by itself in a vast institution that mounts opera and ballet year-round in its two opera houses and that sponsors an education project. In Paris, Dudamel intends to conduct opera, dance and orchestral concerts while expanding the range of all three, along with education. He envisions a new and close relationship between the Paris and the L. He also wants mega-orchestra concerts with players from both his Paris and L. He may be politically persona non grata in Venezuela, but he keeps in daily touch with the Sistema administration, and he mentors young Venezuelan musicians virtually. As heartbreakingly disastrous as living conditions have become in the country, Dudamel said the program continues to receive support, and nearly a million kids are in it. Given all that, it may be difficult to see how Dudamel has time for reflection. But he pointed out that, instead of running around the world, he increasingly will stay put either in L. One of the ways he connects the two will be through Wagner. It originally was a joint production between the L. Phil and Paris Opera. But where Dudamel may have changed the most, and where his new simplicity may most affect his music making, is his pandemic pastime of reading scores for the sheer pleasure of it. He had his Scotch, his cigar, his chair and his score, he said, and he simply let the music stimulate his imagination. I could just be in the moment with the music. It was desire.