The Listening Room
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
AUDIO RENDITIONS
Some of these are live recordings & some from notation software using quality sound libraries.
Lyrics in choral works available upon request.
Newest Audio Release!
MARCH 2025: "When Words Fail" on "Viola and Harp Recital: Women Composers" Album
"Both of us said that it will be a major piece for the viola and harp repertoire." Rachel Talitman and Pierre Henri Xuereb
November Audio Release!
"Deep Within" with pianist Allison Brewster Franzetti now streaming. "The effective use of subtle dissonance in a piece whose dynamics seem never to exceed mezzo-piano is breathtaking. I have never experienced virtuosity of this nature." -Michael Doyle, guitarist
Hot Off the Press!
Alternate parts available for Bb clarinet and piano (harp)
WILDFLOWER for soprano, clarinet, violin, viola, cello, and harp was specifically commissioned by Drs. David and Kathleen Stern. This heartfelt composition is the second work in this four-part song cycle, lighter in nature than “Oh, my son…” but deeply personal. Based on the Sterns’ second poem in the cycle, “Blue Poppy,” this work tenderly addresses the loss of a loved one to addiction and suicide.
Blue poppies, rare in color and strikingly beautiful, are found high up on Himalayan mountaintops. Resilent and strong, they persevere even in the most rugged of terrains. That was Alan Stern–a breath of joy trying to survive in a world of pain.
The perusal score will be released upon premiere, but if you’d like to premiere it, contact us.
TBA
Virtual audio available upon request.
World Premiere June 20, 2025 ChamberFest Cleveland
“A prophetic siren blast, breaking the silence
surrounding this often hush-hush subject.
” ~JPM
Performers: Dominic Armstrong (tenor/narrator), Franklin Cohen (clarinet), Diana Cohen (violin), Roman Rabinovich (piano), Alex Cohen (timpani)
Bonded by a shared association with their clarinet instructor, esteemed Leon Russianoff, a team of highly talented artists, including doctor/former clarinetist David Stern, renowned clarinetist Franklin Cohen, and composer Judith Markovich, collaborated in 2023 on a powerful, evocative musical work titled Oh, my son…. The piece was inspired by the Sterns’ own experiences with the loss of their son Alan to suicide and seeks to bring greater awareness to this societal epidemic. The union of these three friends after decades of separate careers is amazing on so many levels. Together they were able to create a moving and poignant programmatic tribute while giving a brave voice to those affected by suicide’s staggering footprint.
According to the CDC in 2021, someone died by suicide every 11 minutes in the U.S. alone, while 1.7 million attempted it and over 12 million had suicidal thoughts. These shocking statistics on the rise expose the urgent need for increased efforts towards prevention.
Markovich’s work is orchestrated specifically for the unique instrumentation of Cohen’s esteemed musical family. The lyrics are based on a “proem” of the same title by David and Kathleen Stern. The surface simplicity of its music illuminates the internal depth of the touching lyrics, opening hearts to an otherwise hush hush subject.
Many relatable works exist on the themes of love, loss, and grief. However, to our knowledge, Oh, my son… is the first classical programmatic work that spotlights this specific humanitarian crisis.
Sold Out! Standing Ovation!
Review Coming Soon!
Audio, pre-premiere recording
Boston University Faculty and Friends:
Clarinet – Kai-Yun Lu (Boston)
Piano – Tom Weaver (esteemed composer too) BUTI
Violin – Nicole Wendl (BUTI)
Timpanist – Peter White (Queens)
Tenor/Narrator – Matthew DiBattista (Boston)
New Versions Available!
Versions for viola and piano, clarinet and harp, clarinet and piano are available in the MusicShop
WHEN WORDS FAIL for viola and harp was specifically commissioned by the renowned harpist Rachel Talitman from Tel Aviv. This mesmerizing composition is featured on the 2024 album, Viola and Harp Recital, with solo violist and professor at the Paris Conservatory, Pierre Henri Xuereb. Talitman and Xuereb showcase their remarkable talents in the world premieres on this album, which was released in March 2025. The inspiration behind this particular work comes from a poignant Jewish poem that is delicately inscribed on the walls of a CA asylum, adding a profound layer of depth and emotion to the music.
“Woa… It is so beautiful!” Rachel Talitman, harpist
“We love so much the piece, we talked yesterday evening, and both of us said that it will be a major piece for the viola and harp repertoire. Now I know, you felt that we talked about you.” 😆 Rachel Talitman (harpist) and Pierre Henri Xuereb (violist and faculty, Paris Conservatory)
ICE & FURY: Passacaglia for solo violin was commissioned by violinist Christina McGann. The ostinato came from a dream, and the title from an article about major storms and challenges by David Callis, who said, “I’ve always been captivated by how something so beautiful could become treacherous.”
As I worked with the ground bass in light of the title, I imagined an Olympic figure skater as her blade cuts through the ice. I could hear the ice dancer glide, quicken steps, spin and twirl, well-prepared for the difficulty of a triple axle that can upend the best of skaters. The intensity in this piece progresses, ever-increasing to an elaborate fury of activity but ends with the sublime peace of a sunlit, quiet world covered in sparkling ice. “Be prepared. It is not “if” but “when” the challenge will come.”
“Woa… It is so beautiful!” Rachel Talitman, harpist
New Version for Cello Coming Soon!
“Behind her words is the restraint of a thousand years of tears.”
Read the tearful tribute from Judith Markovich about Women’s History Month from the premiere.
LAMENT for Piano Quintet & Empty Chair is dedicated to my dear friend, Laura Flax, the first female clarinetist of the NYC Opera Orchestra and member of the Da Capo Chamber Players.
Lament travels through an octatonic soundscape with 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. It features a violin cadenza as well as the piano.
World Premiere, March 28, 2023, Grammy-nominated Alias Chamber Ensemble. Pianist, Jerome Reed.
Read about the history of suppressed musical women who triumphed & a short chat about LAMENT before you listen.
Always an honor to get to play a meaningful work from a wonderful composer, who also happens to be a beautiful soul! Sari Reist, cellist, TN
Absolute in meaning, the most beautiful lament ever. Brian McDonald, composer
I was in attendance last night at the Alias Concert. I wanted to congratulate you on a wonderful premiere of your beautiful music. Your commentary was inspiring and a beam of hope in these unprecedented times. I especially loved your rhythmic and percussive treatment of the strings in the middle section. Thank you for your beautiful music and hope to connect further in the near future! Andre Madatian, composer/guitarist
ALIAS Chamber Ensemble, World Premiere
Guest pianist, Jerome Reed
THREE MINIATURES for solo viola was premiered worldwide in Paris by Brett Deubner on June 6, 2020. It is an unaccompanied solo chock full of spirited fun and challenge. A soft touch of romance is sandwiched between two energetic, multi-metered movements with a node to Stravinsky. For violists longing for a short, showy contemporary piece to balance a program, this may very well compliment your selections.
In writing “Three Miniatures,” Markovich was inspired by the rapidly changing metres of Stravinsky’s Three Pieces for solo clarinet. The opening movement engages immediately for Deubner’s commanding execution of its acrobatic dance moves, and the third likewise impresses for its freewheeling energy and abandon. It’s the eloquent lyricism of the solemn central part that registers most powerfully—the kind of mournful material for which the viola is perfectly suited. ~Textura Review
Movement I
HOPE Album
Brett Deubner, violist
Now available on vinyl
Three Miniatures
by Judith Markovich
Movement III
~ J. P. Markovich
The first movement, “King for a Day,” was selected for performance at the 2022 International Composers Festival in Sussex, UK.
THE LOOKING GLASS
a transformative,
contemporary dance suite
IN FIVE MOVEMENTS
for woodwinds, trumpet, percussion, guitar, bass
THE LOOKING GLASS is a unique, programmatic, five-movement work that grows from a woodwind quintet to thirteen players: woodwind quintet, trumpet, guitars, bass and percussion. Add a dancer with a large mirror and you have an event!
The title was inspired by the poet Dale Wimbrow who challenges us to be true to yourself.
The first movement was selected by the 2022 International Composers Festival, Sussek, UK and is published separately as a woodwind quintet called KING FOR A DAY.
The first three movements are published separately as THREE REFELCTIONS with the option of adding a trumpet.
THE GUY IN THE GLASS
by Dale Wimbrow (1895-1954)
When you get what you want in your struggle for pelf (riches),
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.
“Lovely piece …… the arrangement and melodic lines are gorgeous!” Richard John, songwriter, England
“This is wonderful!!!” Anthony Maglione, US conductor/composer
“Such a peaceful beauty! Great piece of music orchestration, superb and love changes of mood.” Haris Vucans, Ogre, Latvia
“Stunning.” Helen Keeling-Marston, UK composer
THE LOOKING GLASS
THREE REFLECTIONS
KING FOR A DAY
New Versions Available
For a limited time, exclusive printed score and parts for English horn version available at Trevco Music.
CORNERSTONE SONATA for viola & piano was commissioned and dedicated to viola virtuoso, Brett Deubner in 2020. It is a programmatic piece based on a poem called “The Bully and The Cornerstone.” Throughout the piece, you will hear the stone cutters chipping away, spewing mockery and anger or pleading for mercy. You will feel the sadness and rejection of the destined cornerstone and the power of the Master Builder who steps in to choose the rejected stone as the best. This piece is the “little sister” of CORNERSTONE CONCERTO.
A clarinet version is available.
Scisma:
Danza Lenta:
Con Fuoco:
New Version Available
New Versions Available
For a limited time, print version of English horn and cello available at Trevco Music.
EMERGENCE for full orchestra arrives n 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 is a short, extracted note pattern from Markovich’s favorite childhood hymn tune, “Purpose,” by Martin Fallas Shaw, who was a staunch supporter of women. As the tone poem builds, 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
“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 been 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 Fer
THE DABBLING DUCK INTRODUCTION
Available in other versions
HALLELUJAH IN THE DARKNESS
A Praise Suite
Exciting mixed-metered rhythms,
spoken voices, and colorful harmonies
for SATB choir and orchestra
Markovich’s work, HALLELUJAH IN THE DARKNESS, was written for her husband, Richard, during his struggle with an aggressive cancer.
Modes, textures, and mixed meters embrace a soundscape of Gregorian chant to film score. The riveting third movement, We Will Glorify Him, is a put-your-foot-down commitment to praise, no matter what. He has miraculously recovered through firm faith and undying praise of Jesus Christ, Healer of healers.
Lyrics are available upon request.
“Lovely piece …… the arrangement and melodic lines are gorgeous!” Richard John, songwriter, England
“This is wonderful!!!” Anthony Maglione, US conductor/composer
“Such a peaceful beauty! Great piece of music orchestration, superb and love changes of mood.” Haris Vucans, Ogre, Latvia
“Stunning.” Helen Keeling-Marston, UK composer
LORD GOD OF HOSTS:
Terrors Rise
BASED ON A THEME BY J. S. BACH
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, as well as performance CD (upon request).
“Wonderful! I want to hear anything you compose for choir in the future.” David Diebold, CCC Church
WE WILL GLORIFY HIM
from Hallelujah in the Darkness
a quick, powerful, multi-rhythmic work
for choir (spoken/sung), winds, piano, cello, bass
The asymmetrical rhythmic patterns in “We Will Glorify Him” 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.
“It doesn’t take much faith to praise God when life goes well, But when the dark clouds lower and the raging storms batter, our trust is tested. Will we praise God in the darkness? Will we?” J. Markovich
“Interesting and beautiful composition.” Volker Feidel, composer, Germany
“Beautiful work!” Sam Bartee, composer, Australia
Computerized rendition, so voice cannot be reproduced. However, the spoken vocal part imitates the snare.
Tired of the same ole repertoire?
Want a new composition to bridge your traditional pieces?
THE LAMB
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.
“Beautiful sound! Really well done!” Orpheus Studio Orchestral
“I love the ending!” Sam Bartee, composer, Australia
“Great sound and playing………fantastic atmosphere….very nice.” Promo Review