Podcast appearances and mentions of william hagen

Internationally-acclaimed violinist William Hagen discusses how he has prepared to play Beethoven's Violin Concerto at BYU-Idaho on Nov. 21 and talks about his career in music http://www.byui.edu/radio/violinist-william-hagen-comes-to-byu-idaho

Here is one of the few remaining homes of the nearly vanished Trapps Mountain Hamlet. Its small size and simple, unadorned lines were typical of the Hamlet. The cabin is a plank house built in 1889 or 1890 by William Hagen and bought by Eli Van Leuven in 1898. Eli’s family occupied the house into the 1920s when the Mohonk Mountain House bought the property.What was family life in the Trapps like during the late 1800s? A typical family was large, with many children all living in a house as small as the one you see here. Trapps men worked at a variety of jobs, including stone-cutting, charcoal-burning, cutting cord wood, and shaping hoops for barrels; they worked, too, as day laborers for the Minnewaska and Mohonk Mountain Houses. Trapps women also worked at a variety of occupations, both at home and at the local mountain hotels. At home, they made butter and cheese, raised chickens, and cultivated kitchen gardens with the help of the children. Some women had hand looms on which they wove a variety of fabrics. Summertime blueberry- and huckleberry-picking was an activity for the entire family, with the sale of berries being another source of cash.Like most Trapps houses, the Van Leuven Cabin lacked plumbing of any kind. There was no electricity, so candles and kerosene lamps were used when required. Electric and telephone lines did not reach parts of the Trapps Mountain Hamlet until the 1950s or later! In the photo, we can see how the Van Leuvens made use of the large boulder located next to their home. Using millstone-cutting methods, a large, crude shelf was fashioned, thereby producing a useful, outdoor, working surface for washing and cooking.

Here is one of the few remaining homes of the nearly vanished Trapps Mountain Hamlet. Its small size and simple, unadorned lines were typical of the Hamlet. The cabin is a plank house built in 1889 or 1890 by William Hagen and bought by Eli Van Leuven in 1898. Eli’s family occupied the house into the 1920s when the Mohonk Mountain House bought the property.What was family life in the Trapps like during the late 1800s? A typical family was large, with many children all living in a house as small as the one you see here. Trapps men worked at a variety of jobs, including stone-cutting, charcoal-burning, cutting cord wood, and shaping hoops for barrels; they worked, too, as day laborers for the Minnewaska and Mohonk Mountain Houses. Trapps women also worked at a variety of occupations, both at home and at the local mountain hotels. At home, they made butter and cheese, raised chickens, and cultivated kitchen gardens with the help of the children. Some women had hand looms on which they wove a variety of fabrics. Summertime blueberry- and huckleberry-picking was an activity for the entire family, with the sale of berries being another source of cash.Like most Trapps houses, the Van Leuven Cabin lacked plumbing of any kind. There was no electricity, so candles and kerosene lamps were used when required. Electric and telephone lines did not reach parts of the Trapps Mountain Hamlet until the 1950s or later! In the photo, we can see how the Van Leuvens made use of the large boulder located next to their home. Using millstone-cutting methods, a large, crude shelf was fashioned, thereby producing a useful, outdoor, working surface for washing and cooking.

Barbara Visser wordt in 1966 geboren in Haarlem, en studeert fotografie en audiovisuele beeldende kunst in Amsterdam, Maastricht en New York. Fotografie, film, video, tekst, drukwerk en performance ? vele genres verbindt Visser in haar werk. Behalve kunstenaar is zij ook docent geweest bij diverse kunst? ontwerp? en architectuuropleidingening Nederland en daarbuiten. Bovendien was Barbara Visser van 2014 tot 2017 voorzitter van de Akademie van Kunsten van de KNAW, opgericht om de banden tussen kunst en wetenschap aan te halen, en om kunst en maatschappij, en de kunsten onderling, dichter bij elkaar te brengen. Werk van Visser is momenteel te zien in Het Stedelijk Museum in Amsterdam in de tentoonstelling I?m a Native Foreigner en in NEST Den Haag in de tentoonstelling On Speaking Terms. Ook werkt ze aan de film The End of Fear, die in het voorjaar van 2018 zal worden uitgezonden door de VPRO. Visser heeft het nu heel druk als interimartistiek directeur van IDFA, het International Documentary Filmfestival Amsterdam, dat dit jaar haar 30e editie beleeft. Woensdag begint het festival, en in 12 dagen zijn er meer dan 300 documentaires te zien. Als kind zong Barbara Visser op school, en probeerde ze ook blokfluit en piano, maar daar volhardde ze tot haar spijt niet in. Tegenwoordig probeert ze tijd te maken om de piano weer op te pakken? Meer informatie over de documentaire Imposed Piece, die 12 finalisten van het Elisabeth Concours 2015 volgt, èn het optreden dat 3e prijswinnaar William Hagen zal geven: www.idfa.nl/nl/film/96670acf-11ae-47bc-8157-038a536598db/imposed-piece

Barbara Visser wordt in 1966 geboren in Haarlem, en studeert fotografie en audiovisuele beeldende kunst in Amsterdam, Maastricht en New York. Fotografie, film, video, tekst, drukwerk en performance ? vele genres verbindt Visser in haar werk. Behalve kunstenaar is zij ook docent geweest bij diverse kunst? ontwerp? en architectuuropleidingening Nederland en daarbuiten. Bovendien was Barbara Visser van 2014 tot 2017 voorzitter van de Akademie van Kunsten van de KNAW, opgericht om de banden tussen kunst en wetenschap aan te halen, en om kunst en maatschappij, en de kunsten onderling, dichter bij elkaar te brengen. Werk van Visser is momenteel te zien in Het Stedelijk Museum in Amsterdam in de tentoonstelling I?m a Native Foreigner en in NEST Den Haag in de tentoonstelling On Speaking Terms. Ook werkt ze aan de film The End of Fear, die in het voorjaar van 2018 zal worden uitgezonden door de VPRO. Visser heeft het nu heel druk als interimartistiek directeur van IDFA, het International Documentary Filmfestival Amsterdam, dat dit jaar haar 30e editie beleeft. Woensdag begint het festival, en in 12 dagen zijn er meer dan 300 documentaires te zien. Als kind zong Barbara Visser op school, en probeerde ze ook blokfluit en piano, maar daar volhardde ze tot haar spijt niet in. Tegenwoordig probeert ze tijd te maken om de piano weer op te pakken? Meer informatie over de documentaire Imposed Piece, die 12 finalisten van het Elisabeth Concours 2015 volgt, èn het optreden dat 3e prijswinnaar William Hagen zal geven: www.idfa.nl/nl/film/96670acf-11ae-47bc-8157-038a536598db/imposed-piece

Concert violinist: “brilliant virtuoso…a standout” (The Dallas Morning News) with “an intellectual command of line and score, and just the right amount of power” (violinist.com)