Maria (from West Side Story) (arr. Ed Lojeski): TTBB Choral Octavo

Lojeski brings the soaring lyricism of Bernstein's original into a setting that sits beautifully for men's voices without losing the emotional weight that makes Maria unforgettable. The flexible voicing options (TB/TTB/TBB/TTBB) mean you can use this regardless of your section balance, and the arrangement honors the song's romantic urgency while remaining performable for a wide range of skill levels.

Stepping into the streets of San Juan with fresh eyes. The arrangement carries the tenderness and excitement of that first encounter, wrapped in harmonies that feel both classic and immediate. There's an earnestness here that resonates across generations.

Men's choirs looking for a Broadway classic that sits comfortably in the male voice range and gives serious singers something emotionally substantial to perform. This works equally well for mixed ensembles with lighter tenor sections or for concert programming where you need a piece that audiences genuinely love.

• Balance the melody line carefully across the ensemble so it projects clearly without sounding thin; the beauty of this song depends on unified tone quality from whoever carries the tune.
• Pay attention to the harmonic movement underneath the main line; Lojeski's voicings create emotional support that singers need to hear from each other, so warm-up by singing the chord changes together.
• Shape the phrases with the text in mind. The words 'I just met a girl named Maria' need genuine wonder, which your singers will find easier to express if they commit to the lyrical pacing rather than rushing.

Consider pairing this with other Bernstein selections or with a Broadway/film music concert theme. It also serves as an excellent bridge between classical repertoire and contemporary programming, especially useful when you're programming for an audience that might be less familiar with choral music. The six-page length makes it manageable for a concert slot without dominating rehearsal time.

• Sustaining legit singing tone across a wide dynamic range
• Balancing solo line projection with ensemble blend
• Interpreting text with musical intention and subtext
• Reading flexible voicing arrangements and adapting to section needs