Boston Symphony Woodwinds with Alina Polyakov

Boston Symphony Woodwinds with Alina Polyakov

February 23, 2018

8 p.m. | Phillips Recital Hall

Elizabeth Ostling, flute
John Ferrillo, oboe
Thomas Martin, clarinet

Alina Polyakov, piano

Jeremy Begbie, composer/piano

Performing the world premiere of his composition "Good Measure" for Flute and Piano, after a poem by Malcolm Guite

Elizabeth Ostling
Associate Principal Flute, Boston Symphony Orchestra; Principal Flute, Boston Pops Orchestra
BSO: Marian Gray Lewis chair, endowed in perpetuity; Boston Pops: Mr. and Mrs. William F. Connell chair, endowed in perpetuity

Elizabeth Ostling joined the Boston Symphony Orchestra in 1994 and was named the associate principal flute in 1997. Ms. Ostling grew up in Ridgewood, NJ, and graduated in 1994 from the Curtis Institute of Music, where she was a student of Julius Baker and Jeffrey Khaner. During her freshman year at Curtis, she won first prize in the quadrennial Koussevitzky Competition for Woodwinds. She spent a summer with the National Repertory Orchestra and was a featured soloist during the Festival of Contemporary Music as a Tanglewood Music Center Fellow. Ms. Ostling has been featured in Boston Symphony performances of Frank Martin's Concerto for Seven Wind Instruments and has also performed as soloist with the Boston Pops and New Jersey Symphony orchestras, the Metamorphosen Chamber Orchestra, and the Masterworks Festival Orchestra. A frequent performer in solo and chamber recitals, she has appeared locally with the Boston Symphony Chamber Players and the Boston Artists Ensemble. At Jordan Hall, she has premiered two works written for her: Michael Gandolfi's Geppetto's Workshop for flute and piano, and Dan Coleman's Pavanes and Symmetries for flute and orchestra. In May 2017, Ms. Ostling graduated summa cum laude from Gordon-Conwell Theological Seminary with a masters degree in spiritual formation, having studied Christian piety in various eras of church history, lived out by individuals such as the Stockbridge, MA, Puritan missionary Jonathan Edwards and the composers Hildegard of Bingen and Olivier Messiaen. She has lectured on "Christ and the Arts" at the Institute for Christian Unity, and performed in a "Theology and Improvisation" 2016 convocation event for Duke Initiatives in Theology and the Arts. Ms. Ostling is on the flute faculty of Boston University.


John Ferrillo
Principal Oboe, Boston Symphony Orchestra
BSO: Mildred B. Remis chair, endowed in perpetuity

John Ferrillo joined the Boston Symphony Orchestra as principal oboe at the start of the 2001 Tanglewood season, having appeared with the orchestra several times as a guest performer in previous seasons. From 1986 to 2001 he was principal oboe of the Metropolitan Opera Orchestra. Mr. Ferrillo grew up in Bedford, Massachusetts, and played in the Greater Boston Youth Symphony Orchestra. He is a graduate of the Curtis Institute, where he studied with John deLancie and received his diploma and Artist's certificate. He also studied with John Mack at the Blossom Festival and has participated in the Marlboro, Craftsbury, and Monadnock festivals. Prior to his appointment at the Metropolitan Opera, Mr. Ferrillo was second oboe of the San Francisco Symphony, and was a faculty member at Illinois State University and West Virginia State University. A former faculty member of the Mannes School of Music and Juilliard School of Music in New York City, he has taught and performed at the Aspen and Waterloo festivals and currently serves on the faculty of the New England Conservatory, Boston University, and the Boston University Tanglewood Institute.


Thomas Martin
Associate Principal and E-flat Clarinet, Boston Symphony Orchestra; Principal Clarinet, Boston Pops Orchestra
Stanton W. and Elisabeth K. Davis chair, endowed in perpetuity

Thomas Martin is associate principal clarinetist of the Boston Symphony Orchestra and principal clarinetist of the Boston Pops Orchestra. Mr. Martin began his professional music career as a clarinetist, saxophonist, and flutist at age thirteen, performing with several big bands and combos in his native Wisconsin. He later attended the Eastman School of Music in Rochester, New York, where his clarinet studies were with Stanley Hasty and former Boston Symphony clarinetist Peter Hadcock. Through his association with the Boston Symphony and Boston Pops, Mr. Martin has worked with most of the world's leading conductors, soloists, and entertainers. Outside of these two orchestras, he maintains an active schedule as a soloist, chamber musician, and teacher. His performance of the east coast premiere of Elliott Carter's Clarinet Concerto at Tanglewood in 1998 was highly praised, and he played that work again at Tanglewood in 2008 as part of that summer's Carter Centenary Celebration. His performances with the Boston Pops included a 100th anniversary tribute to Benny Goodman in June 2009; he gave the American premiere of Carter's Poems of Louis Zukofsky with soprano Lucy Shelton as part of the 2009 Festival of Contemporary Music at Tanglewood; and he appeared as soloist with the Boston Symphony Orchestra in August 2010 performing Leonard Bernstein's Prelude, Fugue, and Riffs for clarinet and jazz ensemble with Robert Spano conducting. In May 2010 he performed with the Hawthorne String Quartet at the Prague Spring Music Festival, where he also gave the premiere of a new clarinet sonata composed for him by Sir André Previn, with the composer at the piano.


Alina Polyakov teaches applied piano at Gordon. She was born in the Ukraine in the former Soviet Union, and holds both master’s and doctoral degrees from the Gnessin’s Conservatory in Moscow. Her principal teachers were Emil Gilels, Yuri Petrov and Leonid Brumberg. Ms. Polyakov has performed with the Gnessin’s Conservatory Orchestra and has performed extensively in the former Soviet Union. Her performance experience also encompasses solo recitals and orchestral appearances, chamber music, and recital accompaniment throughout the United States and Europe.

In 1989, Dr. Polyakov immigrated to the United States. She has served on the faculty of Gordon College, Atlantic Union College and the Boston Conservatory, and has directed piano master classes at the Vienna Conservatory and the University of Strathclyde in Glasgow. She performed with the New England String Ensemble with Federico Cortese at Jordan Hall and in 2008 performed Rachmaninov’s Third Piano Concerto with the Gordon Symphony Orchestra conducted by James Buswell. She played at the Rockport Music Festival in a duo piano recital with Mia Chung.

Dr. Polyakov intensively performs with musicians from the Boston Symphony Orchestra at Symphony Hall, Jordan Hall, Harvard University, Rogers Center for the Arts at Merrimack College, and the Tsai Center at Boston University. She has performed solo recitals at Brandeis University and Gordon College and has performed at the Goethe Institute. Ms. Polyakov’s performances have been aired throughout metropolitan Boston on WGBH Radio 89.7 and WHDH-TV. 

As a member of the Rachmaninov Trio, Dr. Polyakov performs extensively throughout the United Kingdom and the United States. The trio has performed at such venues as Hutchenson’s Hall, the Royal Academy of Music and St. Andrews University. The Glasgow Herald wrote: “It was Polyakov’s unpretentious virtuosity that seemed to bind the trio together. Her playing was generous and masterful, never dominating the ensemble, never holding back when it mattered.”


Jeremy Begbie
Thomas A. Langford Research Professor in Theology, Duke Divinity School; Director, Duke Initiatives in Theology and the Arts

Jeremy Begbie is the Thomas A. Langford Research Professor in Theology at Duke Divinity School, and Director of Duke Initiatives in Theology and the Arts. He teaches systematic theology, and specializes in the interface between theology and the arts. He is a professionally trained musician, and an Affiliated Lecturer in the Faculty of Music at the University of Cambridge. He is author of Voicing Creation’s Praise: Towards a Theology of the Arts (T & T Clark), Theology, Music and Time (CUP), Resounding Truth: Christian Wisdom in the World of Music (Baker/SPCK), Music, Modernity, and God (OUP), and Redeeming Transcendence in the Arts (Eerdmans). He has taught widely in the UK and North America, and delivered multimedia performance-lectures across the world, from Israel to Australia and Hong Kong.


General Admission $20 / Seniors $15 / Groups and Students $10
Free Admission for Children 12 and under

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