William Vollinger is primarily a composer of spoken and sung vocal music, performed by groups such as the Gregg Smith Singers and New York Vocal Arts Ensemble, whose performance of his "Three Songs About the Resurrection" won first prize at the Geneva International Competition. An instrumental work, "The Violinist in the Mall" won the 2005 Friends and Enemies of New Music competition. Sound Portraits, is a collection of his vocal works featuring soprano Linda Ferraira and recorded by Capstone. His works have been performed and broadcast in Europe, United States, and Asia. NPR devoted an hour program to his music. Tennessee Technological University presented an entire concert of his music. His recent composition "Raspberry Man" was selected for both the 2009 National SCI Conference in Santa Fe NM and the University of Nebraska 2009 New Music Festival. It is being released by Parma Recordings in 2011. Works premiered in 2010-11 include "Duck Girl" by soprano Liz Argus and Musaica in New Orleans (nominated for Best Performance of New Classical Music by Gambit), "Emmanuel Changed" by Juventas in Boston, Massachusetts "Mark 5:21-43" by Marie Kenote and Tammy Lum in Nyack, NY, "Made in the Image of God" at the National CFAMC Conference in Marion, Indiana,"The Pelican" performed also in New Orleans by tenor Ricky Graham and clarinetist John Reeks, "What of That" by Rosalind Rees and the Gregg Smith Singers in NYC, and "Letís Talk" by Liana Valente in Lakeland, Florida. Vox Novus selected "How the Lord's Prayer Sounds, How the Lord's Prayer Feels" was selected for their Orchestra 60x60 project. Vollingerís music is published by Abingdon, API, Heritage, Neil A. Kjos, Lawson-Gould, and Laurendale, with five pieces featured as editorís choices in the Pepper Catalogue. He is a graduate of Manhattan School of Music and teaches composition at Nyack College.
Writing in Fanfare (December 2003), Raymond Beegle writes "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 itís 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. "
For more Information visit http://williamvollinger.com/