Published Works

Compositions for Mixed Voices »


Adoro te devote (Jesus, I Adore Thee)
Christ, Victorious, Christ, Now Reigning
Come Unto Me All Ye That Labour
Hush, My Dear, Lie Still and Slumber
Let My Prayer Rise Before You As Incense
People Look East
Sans Day Carol (Now the Holly Bears a Berry)
A Song of Creation
Songs of Innocence
There Is No Rose of Such Virtue
To Everything There Is A Season
Ubi caritas
The Wayfaring Stranger
Within These Walls
Evening Service in A (Magnificat and Nunc dimittis)
Preces and Responses

Compositions for Treble Voices »


Goodbye, Old Paint
Make We Joy Now In This Fest
Swete Was The Song The Virgine Soong

Compositions for Men’s Voices »


Simple Gifts
How Can I Keep From Singing?


Adoro te devote (Jesus, I Adore Thee)

Roger Dean Publishers 326 (1991)
For the Coshocton Community Choir, Charles Snyder, conductor

Jesus, I Adore TheeVoicing: SATB (divisi) a cappella

Duration: 3:50

Text: The Latin underlay is the chant-hymn text attributed to Thomas Aquinas (1227-1274). The English underlay adapted by Stephen Caracciolo is at times a loose translation of Aquinas’ text, and at others a rhymed and metered interpretation of the first chapter of John’s gospel.

Annotation: This strophic choral arrangement of the well-known medieval chant is suited both for concerts and for large church/cathedral choirs. Easily the most performed composition in this catalog, choirs have taken this arrangement on tour all over the US and Europe, including the College Choir of Northwestern College —Timothy Sawyer, conductor—who have adopted Jesus, I Adore Thee as the traditional work they sing at the end of every recording and performance.


Christ, Victorious, Christ, Now Reigning

MorningStar Music Publishers 50-8202A (1994)
Commissioned by Overbrook Presbyterian, Columbus, Ohio

Duration: 4:45

Voicing: SATB, organ, and brass & timpani (both optional)

Text: Stephen Caracciolo

Annotation: This is an original hymn-anthem that accesses the many and varied images of Christ as set forth in the lections for Christ the King Sunday (years A,B, & C). Also a strong choice for any of the Sundays of Easter.

Come Unto Me All Ye That Labour

Roger Dean Publishing 10/1646R (1997)
Commissioned by the Lancaster Chorale, Robert Trocchia, conductor

Voicing: SATB, SATB a cappella

Duration: 4:50

Text: Based on Matthew 11:28, Stephen Caracciolo

Annotation: This double choir motet employs romantic harmonies and tightly woven counterpoint with melodic shapes reminiscent of 16th century polyphony. The first voice part enters with the subject at one end of the room and then passes that subject to the other parts in turn until it weaves its way to the other side of the choir. The printed introduction for the work clearly describes how the performing forces should stand in a semi-circle surrounding the audience. Unfortunately, the score is riddled with many editing mistakes. Conductors interested in this motet should request the list of corrections.

The composer handles the dense polyphonic writing very well. The extended harmony used produces a thick, lush choral sonority.

David Stein, Choral Journal


Hush, My Dear, Lie Still and Slumber

Roger Dean Publishing 15/1491R (1999)
For my wife, Sandra

Voicing: SATB a cappella

Duration: 3:50

Text: Isaac Watts (1674–1748)

Annotation: A setting of the tender text by Isaac Watts featuring an arching melody and warm harmonies, this lullaby is appropriate for both concert and church choir.

This is a lovely setting of Isaac Watts poem…Caracciolo gives this lullaby a beautiful shape.

Philip Brunelle, Choral Journal


Let My Prayer Rise Before You As Incense

MorningStar Music Publishers 50-9710 (2012)
For the Cathedral Choir of Washington National Cathedral, Canon Michael McCarthy, Director of Music

Voicing: SATB and ATB trio (or semi-choir) a cappella

Duration: 5:00

Text: Psalm 141

Annotation: Written as a quiet, spiritual setting with arching counterpoint appropriate for Evensong (Evening Prayer), Vespers, Compline, or concert use.

People Look East

Roger Dean Publishing 15/1491R (1999)
Written for the Columbus Academy Chorus

Voicing: SATB a cappella

Duration: 1:30

Text: Eleanor Farjeon (1881–1965)

Annotation: A choral arrangement of the popular advent carol, the exuberant and unrelenting 6/8 drives to a blazing finish. Very effective as a holiday concert processional!

Sans Day Carol (Now the Holly Bears a Berry)

MorningStar Music Publishers 50-1119 (2012)
Commissioned by the Maryland State Boychoir, Stephen Holmes, conductor, for their 2010 Service of Lessons and Carols in celebration of the work and dedication of their founder, Frank Cimino.

Voicing: SATB and organ (tubular bells, optional)

Duration: 3:45

Text: 19th Century Cornish

Annotation: A new setting of this well-known text. Excellent for services of lessons and carols. A lilting melody with a creative organ part and sensitive harmonies.

A Song of Creation

MorningStar Music Publishers 50-6212 (2014)
Dedicated to the Cathedral Choir of Washington National Cathedral, Canon Michael McCarthy, Music Director

Voicing: SATB (divisi) a cappella

Duration: 3:35

Text: Daniel 3, Septuagint; Song of the Three Young Men

Annotation:

Daniel’s exuberant hymn of praise is sung by the three young men who miraculously survive King Nebuchadnezzar’s fiery furnace. Their song, a catalogue of exhortations to the elements of creation, has been used as a canticle for Morning Prayer for centuries. This setting features melodic material that is continually undergoing metamorphosis. The transformation from stanza to stanza accommodates the number of syllables and tonic accents in each exhortation, but also musically illumines the meaning of the text.

Notated silence is an important tool for choral composers, allowing resonant spaces to continue to sound even when the singing has ceased. The Cathedra recording features the stone piers, arches, and vaulting of Washington National Cathedral reverberating during a written grand pause at that moment preceding the doxology when performers release their sound and metaphorically exhort the sacred space itself to join them in a song of creation.

Songs of Innocence

Roger Dean Publishing 10/1424R (1996)
Commissioned by the Lancaster Chorale, Robert Trocchia, conductor.

Voicing: SATB a cappella

Duration: 3:00, 3:20, 1:45, 3:00; Total ca. 11:00

Text: From Songs of Innocence, William Blake (1757–1827)

Annotation: A setting of four Blake poems: Nurse’s Song, The Lamb, The Echoing Green, and Cradle Song. The Lamb and Cradle Song work well independently of the set. The set exudes a quiet mysticism.

There Is No Rose of Such Virtue

MorningStar Music Publishers 50-1028 (1992)
Written for Allen Crowell and the Westminster Singers of Westminster Choir College

Voicing: SATB a cappella

Duration: 3:00

Text: Anonymous ca. 1420

Annotation: This little carol has been sung all over the world and has been professionally recorded by the National Lutheran Choir.


To Everything There Is A Season

Roger Dean Publishing 10/1420R (1995)
Commissioned by Trinity United Church of Christ, Wadsworth, Ohio

Voicing: SATB, harp (piano optional) and flute, [30/1173R]

Duration: 6:00

Text: Stephen Caracciolo, Ecclesiates 3, rhymed and metered

Annotation: A lyric and dance-like work with a powerful message. Performance must include a flute but the setting sounds really quite wonderful with piano if a harp is out of the question. The first performance featured a liturgical dancer and the work is perfectly suited to this mode of presentation. To Everything There Is A Season has been professionally recorded by the Sanctuary Choir of the Marble Collegiate Church in New York City, Kenneth Dakes, conducting.


Ubi caritas

Roger Dean Publishing 10/1645R (1997)
Commissioned by the Steubenville Civic Choral Society, Stephen B. Spurlock, conductor.

Voicing: SATB (divisi) a cappella

Duration: 6:00

Text: Latin Antiphon for Holy Thursday

Annotation: This new setting is composed with short melodic units employing additive rhythm. This rhythmic feature—wedded to lush harmonies and returning thematic material—results in a gentle hypnotic effect.

The best way to describe this impressive motet is fifty-seven measures of beauty…Sophistication abounds but never intrudes in this work. Here, the music serves the word most humbly. The rhythmic undulation is reminiscent of Messiaen’s “O sacrum convivium” – a high compliment. This setting of “Ubi caritas” is highly recommended to all who revel in subtlety.

Richard Coffey, Choral Journal



The Wayfaring Stranger

Roger Dean Publishing 15/1078 (1994)
Commissioned by the Fairfield Union High School Assembly Singers, Robert Trocchia, Director

Voicing: SATB (divisi) a cappella

Duration: 4:35

Text: Traditional American

Annotation: A folk hymn arranged in a traditional Anglo-American style.


Within These Walls

Roger Dean Publishing 10/1294R (1995)
Commissioned by First Westminster Presbyterian, Steubenville, Ohio

Voicing: SATB and organ

Duration: 5:25

Text: Stephen Caracciolo

Annotation: This Anglican-styled church anthem is the setting of an original text celebrating the central acts of worship. Appropriate as either a communion anthem or for the celebration of a new or refurbished sanctuary. The accompaniment part has colorful lines for the organist to register, ad libitum.

Evening Service in A (Magnificat and Nunc dimittis)

MorningStar Music 50-8011 (2015)

Voicing: SATB and organ

Annotation: This evening service is a lively and rhythmic motif is established in the Magnificat and then followed by a soothing and introspective treatment of the Nunc dimittis. Very effective.

Preces and Responses

MorningStar Music 80-795 (2014)

Voicing: SATB and organ

Annotation: The versicles and responses used at Morning and Evening Prayer in the Episcopal Book of Common Prayer are beautifully set by Stephen Caracciolo for Precentor and SATB choir.


Goodbye, Old Paint

Kjos Music Company 6340 (2007)
Commissioned for the Children’s Honor Choir of the 2005 Ohio Choral Directors Summer Conference

Voicing: SA (limited divisi) and piano

Duration: 3:15

Text: American Traditional

Annotation: An arrangement of the traditional cowboy song, the vocal parts remain true to the simple style as the accompaniment paints the text with gentle colorings of passing dissonance and suspended harmonies.

Make We Joy Now In This Fest

Roger Dean Publishing 10/2361R (2000)
Commissioned for the 1999 Kodály National Conference

Voicing: SSA (limited divisi)

Duration: 3:40

Text: Anonymous 15th century

Annotation: This is an energetic and dance-like setting in the dorian mode cast in the rondo—AABACABAA—with the C section using an adventurous harmonic palate as its dynamic centerpiece.  The B sections are written for soloists or semi-chorus.


Swete Was The Song The Virgine Soong

Roger Dean Publishing 10/2584R (2001)
Commissioned by the Springfield Children’s Chorus, Springfield, Ohio

Voicing: SSA (limited divisi)

Duration: 3:30

Text: Anonymous 16th century

Annotation: A lyric and sensitive setting of the well-known 16th century text, this work combines harmonies ancient and modern: fauxbourdon and a mystical minor 9th chord.  Though written with trained children’s voices in mind, Swete Was The Song sounds equally at home in women’s voices and is published by Roger Dean in the Janet Galván Women’s Choral Series.


Simple Gifts

Kjos Music Company 5589 (2012)
Commissioned by Cantus Vocal Ensemble

Voicing: TTBB (limited divisi)

Duration: 3:50

Text: Elder Joseph Brackett  (1797-1882)

Annotation: An arrangement that features warm harmonies and a final 9-note, Copland-homage chord. The score indicates options for less divisi to suit smaller ensembles.

Listen to Cantus Performing “Simple Gifts” on Twin Cities Public Television:

How Can I Keep From Singing?

Galaxy Music / E.C. Schirmer 1.3398 (2015)

Voicing: TTBB

Annotation: How Can I Keep From Singing? was commissioned by Cantus in 2014 for their album A Harvest Home and subsequent tours through Northern Europe, the Baltic States, and United States. Written as a companion piece to the composer’s setting of Simple Gifts (also commissioned by Cantus four years earlier) this is an arrangement of this iconic folk hymn that sounds traditionally American, immediately recognizable, and not overly arranged, while still having something fresh to say musically using the sonorous sounds of men’s voices.Knowing that Cantus planned to place How Can I Keep From Singing? at the end of their tour program, the final bars were fitted with an extended cadence to bring their staged performances to a satisfying and heartfelt close.

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