s t a r t

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f i n i s h




A fresh, ever-evolving palette of colors

A lyrical voice unafraid of rich melody

An exciting multi-metered rhythmic soundscape

A bridge between ancient and future



Most of these virtual music renditions have been created on

notation software using

Vienna Symphonic Library, Sibelius Sounds,

and/or NotePerformer in Dorico.

Vocal lyrics are represented by the sound Ooh or Aah.

Lyrics in choral works available upon request.

Composer Note:

 LAMENT (String Quartet, Piano, and Empty Chair) is dedicated to my dear friend, Laura Flax. Laura, the first female clarinetist of the New York City Opera Orchestra and member of the Da Capo Chamber Players, was a fierce inspiration. I planned to meet up with her in NYC on a recent trip, but when I found out that she had passed, I was too numb to speak.

Like metal to a magnet, I was drawn into my studio and stared at my music notation software, unable to move. One lone, long note pushed through waves of grief. It came again, and again. I finally wrote it down but struggled. My familiar harmonic colors felt so shallow in light of my intense grief. I needed something deep. Suddenly I remembered the last time I heard Laura play. It was a Messiaen piece, which he wrote in a concentration camp. It then knew its octatonic mode brought the depth of color to my sound palette that I needed.

Lament travels through undulations of numbness, anger, denial, and ends with a final surrender to acceptance. Though the empty chair represents my own friend’s absence, performers are free to use the empty chair to represent any loss of their own.

I challenged myself to write a piano quintet that wasn’t a mini piano concerto but an ensemble that maintained and wove a delicate interplay of emotion among each of the five instruments. It features a cadenza and solo lines for each.

Laura, job well done.

~Judith Markovich, December, 2019

World Premiere scheduled with Grammy-nominated Alias Chamber Ensemble, Nashville, TN


Perusal Scores

CLICK HERE to request perusal score.

Remember for  Viola, Piano, Chimes

“(I) Remember” suspends sound and time to create a place where memory can move from treasured moment to moment. This quiet piece is part of a larger work called “Lost Daughters.” Virtuoso violist Brett Deubner requested an arrangement for viola, premiered it in 2020, and recorded it with Allison Brewster Franzetti for Parma Records (release date June 25, 2021.)

“Remember” for clarinet, piano, and chimes was arranged by the composer from the original version for piano. Versions for English horn or piano or clarinet are available.

Suitable for high school, college, regional, or professional chamber group

“I really appreciate your ear for gesture!” S. G., composer

“Looking forward to doing this wonderful piece.” James Musto, III, NJ Symphony percussionist


“Wow! The music is beautiful, delightful, and majestic. I am honoured that you have created this…absolutely the fullest admiration for your work. If I had een a composer, this is just the sort of thing I would have composed. So delicate and full of joy.”

Isobel Platings, granddaughter of Martin F. Shaw, London

“Inspired to create having been at the concert last weekend. It was a treat to experience especially your composition.”

Nick Coetzee, international worship leader/composer

“I loved your piece…got so inspired by you that I’m going to study composition!”

Maira Honorio Fernandes, cellist, lawyer, Brazil


Tone Poem on the Hymn Tune “Purpose”

A seamless, film-like flow of colors, rhythms, and harmonies from beginning to triumphant end

for full orchestra

Markovich’s latest work is for full orchestra. In a timely season where women are emerging into higher purposes traditionally frowned upon, EMERGENCE is a celebration of emerging women. It was commissioned for the Spring Hill Orchestra by conductor, Rebecca Vendemo, and written by composer, Judith Markovich. SHO was joined by a women’s Brazilian orchestra for the world premiere on October 26, 2019 in Nashville, TN.

Each motif in this tone poem were short, extracted note patterns from Markovich’s favorite childhood hymn tune, “Purpose,” by Martin Fallas Shaw, who was a staunch supporter of women. These motifs may only contain three notes or five, slower or faster, but they are developed and expanded while we progress through the soundscape. As the tone poem builds, we hear more and more of the melody emerge until there is a full explosion of the weighty, majestic hymn. Thus, the name EMERGENCE.

The soundscape uses a novel instrument, a fire drum in D minor, custom-created for the performance by Jonathan Rose at www.HandsOnFire.com. Bold brass, wispy winds, and a full array of percussion join the strings for a delightful soundscape that flows seemlessly through many meter and tempo changes to the triumphant end.

Metaphorically, we humans ponder and search for our unique, significant purpose in life. That purpose often emerges in little bits and hints of sparkling glory as we develop. These bits expand and are strengthened in the fight to survive obstacles meant to bury them. They become one with complementary bits along the way until our divine purpose bursts forth in all its glory.

The audio represented here is a computerized version. The score and parts were engraved on the exceptional Dorico software.


A warm drink of comfort and hope

for brass quintet

“Beyond the Noble Way” is a new addition to the brass repertoire of 2018. It portrays married romance, which begins with a trumpet call for two to become one. It weaves between two lovers and ends with a Father’s assurance that, through it all, He is with them beyond the noble way. It is dedicated to the late Patricia Zadrozny (d. 2018), the wife of a dear trombonist friend and colleague. The horn represents Pat and the trombone is her husband, Ed. The title came from her married name. Patricia means “noble.” Zadrozny is a Polish name that means “beyond the way.”

The audio represented here is a computerized rendition. The score and parts were engraved on the excellent Dorico software and are available upon request on the Contact Us page. Click here.


“Marvelous! I love it!

Ed Zadrozny, trombonist, Cleveland, OH

“Beautiful, Judith! Such deep, thoughtful writing.” 

Rebecca Vendemo, conductor, Germany

“Nice piece!…with a bright theme and small surprises…I like it.” 

Lars Karge, composer, Germany



Available in other versions

Recent Praise for Hallelujah in the Darkness

“Lovely piece….the arrangement and melodic lines are gorgeous!”

Guitarist/Songwriter Richard John, England

“This is wonderful!!!”

Conductor/Composer Anthony J. Maglione, USA



A Praise Suite

Exciting mixed-metered rhythms,

spoken voices, and colorful harmonies

for SATB choir and orchestral ensemble

Markovich’s work, HALLELUJAH IN THE DARKNESS, was written for her husband, Richard, during his struggle with an aggressive cancer. He has miraculously recovered through their firm faith in Jesus Christ, Healer of healers, expressed through undying praise. Through the dark times and now in the victory, through the good results and the disappointing ones, the ups and downs of recovery, they praised God.

These various aspects are addressed through modes, textures, and mixed meters. This work creates an opportunity for amateur groups to enjoy the challenge of odd meters and for professional groups to delight their audiences with a new, fresh sound. The riveting third movement, We Will Glorify Him, was a put-your-foot-down commitment to praise, no matter what. This movement is short and quick, available separately as an exciting encore.

The rendition presented here is computer-generated for demo purposes only and, therefore, does not contain lyrics. Lyrics are available upon request. The score is being engraved on the new Dorico software and will be available by the end of February 2018.




“When I perform recitals,

I’m always on the hunt for fresh,

exciting pieces!”

~ J. P. Markovich

“…fantastic! Amazing…so fun and light and wonderful!” ~ Joan Tower



by Dale Wimbrow (1895-1954)


When you get what you want in your struggle for pelf,
And the world makes you King for a day,
Then go to the mirror and look at yourself,
And see what that guy has to say.
For it isn’t your Father, or Mother, or Wife,
Who judgment upon you must pass.
The feller whose verdict counts most in your life
Is the guy staring back from the glass.
He’s the feller to please, never mind all the rest,
For he’s with you clear up to the end,
And you’ve passed your most dangerous, difficult test
If the guy in the glass is your friend.
You may be like Jack Horner and “chisel” a plum,
And think you’re a wonderful guy,
But the man in the glass says you’re only a bum
If you can’t look him straight in the eye.
You can fool the whole world down the pathway of years,
And get pats on the back as you pass,
But your final reward will be heartaches and tears
If you’ve cheated the guy in the glass.
Copyright 1934. Printed with permission.



a transformative,

contemporary dance suite


for woodwinds, trumpet, percussion, guitar, bass

THE LOOKING GLASS is a unique, programmatic, five-movement work for thirteen players: woodwind quintet, trumpet, guitars, bass and percussion. The title was inspired by the poet Dale Wimbrow, who challenges us to listen to the guy in the glass. Be true to yourself.

  1. The first movement embodies the carefree attitude of one who is blind to the disastrous consequences of his actions.
  2. The second movement expresses the grief, confusion, and wonder of discovering your true identity.
  3. The third movement walks us through the unsettling process of transformation.
  4. The fourth movement is a free, soaring dance as the biblical King David might have danced. It incorporates the use of percussion instruments by the wind players as well as added percussionists.
  5. The fifth and last movement is a joyful celebration of freedom!


The first movement was selected by the 2022 International Composers Festival in May, Sussek, UK


 “This is fantastic! Amazing! So fun and light and wonderful.” 

Joan Tower, composer, NY

 “I truly see the dance, feel the dance, the motion.”

James Jandt, composer, artist, KS





Terrors Rise


a prophetic, contemporary swirl

of “ancient-future” worship

for angel choir, chorus, and orchestra

LORD GOD OF HOSTS brings hope and comfort to God’s people in times of terrorism. The wild, ancient-future evolution of a soaring theme by J. S. Bach is among the qualities to be regarded. Four solo winds, harp and classical guitar are employed across a foundation of strings, piano and light percussion in this through-composed contemporary work. The antiphonal use of an angel choir in conversation with a full chorus becomes a highly effective implement to convey the timely prophetic message from 2 Chronicles 20:

Though we may feel powerless in times of terror and don’t know what to do, be assured. God is with His children. No enemy can withstand the power of His hand.

Available for large or small ensemble with score and parts, as well as performance CD.

Computerized performance does not allow reproduction of lyrics.

Lyrics available upon request.

Tired of the same ole repertoire?


a quick, powerful, multi-rhythmic work
for choir (spoken/sung) with winds, piano, cello, bass

The asymmetrical rhythmic patterns in We Will Glorify Him by J. P. Markovich combine the unusual with the familiar in a way that intuitively melds the words with the music. It is fun to perform! The constant interplay between spoken voices and the chamber ensemble captivates your attention in this short contemporary choral piece.
Part of the “Hallelujah in the Darkness” praise suite, this piece was written for Markovich’s husband, Rich, upon hearing of his cancer diagnosis. Strong in faith, they stood together as he recovered miraculously by the gracious hand of their Lord Jesus Christ.

NOTE: This is a computerized performance, so the voice cannot be reproduced. However, the spoken vocal part imitates the snare. It is the third movement of Hallelujah in the Darkness, which can be performed as a short, stand-alone piece.

Want a new composition to balance your traditional pieces?


out of introspection comes

a frolicking celebration of the Lamb

for chamber orchestra

THE LAMB is a short work but not without lasting impact. It begins in an expansive, ethereal realm of rest and ends in a multi-metered frolic across the tonal ranges of the instruments. Whether used as an encore, a short dance, or a film clip, THE LAMB is sure to delight the hearts of its listeners.