photo by Samira Bouaou


The music of William Vollinger is described as

“3D: different, deep and direct.” Through it he

explores new ways to combine words and music,

both spoken and sung, as well as to sympathetically

describe the human condition, be it serious, funny

or both. Recent premieres include the Jackson State

Symphony, the San Francisco Choral Artists,  the Ridgewood Concert Band, Hamilton-Fairfield

Symphony and Palisades Virtuosi. “The Torrent”

was a finalist for the Choral Music American Prize

and “Stalin and the Little Girl” the Chamber Music

American Prize for 2016. Hartshorn Recordings is

releasing an album of several of his works in 2017.

Much of his music has been performed by

groups such as the Gregg Smith Singers, who

premiered “The Torrent”, a collaboration with the

English poet Jenny Joseph; and the New York

Vocal Arts Ensemble, whose performance of his

“Three Songs About the Resurrection” won first

prize at the 1990 Geneva International Competition.

“The Violinist in the Mall” won the 2005 Friends

and Enemies of New Music competition. Sound

Portraits, a collection of his vocal works, features

soprano Linda Ferraira and is recorded by Capstone.

“Raspberry Man” was premiered at the 2009 SCI

National Conference and was released by Navona

Recordings. Vollinger’s music is published by

Abingdon, API, Heritage, Neil A. Kjos, Lawson-

Gould, and Laurendale Associates, with five pieces featured as Editor’s Choices in the Pepper Catalogue.

A graduate of the Manhattan School of Music, he

teaches Composition and Music of Diverse Cultures

at Nyack College. He is music director at Church of

the Savior in Paramus, NJ, where he also sings, plays piano and organ. He and his wife Chalagne are

both blessed to be the parents of two daughters,

Mary Andrus and Sara Franco, and four grand-

children, Jacob, Arianna, Lily and Elijah.

“I have known his work for years and believe, after

much consideration, that there is genius in it. With

astonishing depth and clarity, Vollinger brings his

subjects to life. One finds a new musical language,

not born out of a desire to be new, but a desire to

be clear and to tell the truth. With all it’s freshness,

it is rooted in our past traditions, felicitously

circumventing all the chaos, all the attitudinizing,

and intellectualizing, and publicizing, that litter

the present musical horizon. ”  


    “Fanfare” Magazine