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, Performed by such renowned artists as the Gregg Smith Singers and NY Vocal Arts Ensemble, whose performance of “Three Songs About the Resurrection” won first prize at the Geneva International Competition. More recent performances have included the Garden State Philharmonic, Hamilton-Fairfield Symphony, Jackson State Symphony,  New Jersey Wind Symphony,  Palisades Virtuosi, San Francisco Choral Artists, and Vox Madrigalis.  Vollinger's music is published by Abingdon, A.P.I., Heritage, Kjos, Lawson-Gould, and Laurendale. Five works were editor's choices in the J.W. Pepper Catalogue.  In the last three years, a total of ten of his compositions have been nominated for the American Prize, with

“Stalin and the Little Girl” receiving a Judge's

Citation for Exceptional Theatrical Sense in a

Unique Monodrama for 2016 and for Theatrical

Skill and Real Humor for “It Takes a Long

Time to Grow Up in New Jersey” for 2017. 

A graduate of Manhattan School of Music,

he teaches Composition and Music of Diverse Cultures at Nyack College, and is music

coordinator of Church of the Savior

in Paramus, NJ, where he also sings,

plays piano and organ. He and his wife

Chalagne are blessed to be the parents of two daughters, Mary Andrus and Sara Franco, 

their husbands Gregory Andrus and Anthony Franco, and grandparents of Jacob Andrus, Arianna Franco, Lily Franco and Elijah Andrus.

“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