You Must Love Me (from Evita) (arr. Ed Lojeski): SAB Choral Octavo

Ed Lojeski's SAB arrangement unlocks this Oscar-winning ballad for choirs that might shy away from four-part voicing or the vocal demands of the original film version. The arrangement respects the song's theatrical DNA while creating genuine harmonic interest across three parts, giving all singers a melodic moment rather than relegating anyone to supporting texture. Programming a Broadway number with this level of emotional weight and contemporary cultural currency reminds students that choral music extends far beyond classical repertoire.

Intimate and yearning, with the vulnerability of a character making a final emotional confession. The arrangement wraps the song's central plea in warm, supportive harmonies that feel like a conversation between singers rather than a performance piece aimed outward.

SAB choirs seeking accessible Broadway repertoire with emotional depth and contemporary relevance. This works especially well for choirs developing confidence with theatrical material or building a setlist that appeals to younger singers through well-known film and stage references.

• Shape the opening phrases with gentle dynamic contours; resist the urge to sit at one volume level, as the lyrical content demands small fluctuations that feel organic rather than dramatic.
• Balance soloists or section leaders on the main melody against the supporting voices so the storyline remains clear without anyone drowning out the harmonic foundation.
• Attend closely to the transition points between sections; small breath catches and slight tempo adjustments (if marked) can heighten the emotional arc rather than disrupting flow.
• Explore the text as a character study: this is a plea rooted in vulnerability, not desperation. That distinction will shape phrasing and vocal color throughout.

Place this strategically in a concert focused on film and stage music, or as a palate cleanser between larger choral works where its contemporary style and smaller scale offer contrast. It pairs naturally with other Broadway selections, whether from the same era or mixed across decades, and works as a solo feature with full choir support if you have strong leads available.

• Sustaining lyrical lines across longer phrases without loss of pitch integrity
• Balancing melody and harmony in close-position voicing
• Interpreting theatrical text with specificity and emotional authenticity
• Following arranger-directed dynamics and expression marks that shape narrative
• Blending three-part harmony while maintaining individual voice independence