OLÉ GUAPA
by Arie “Malando” Maasland

This is a lively European tango was composed by the Dutch
accordionist and composer Arie Maasland, better known under
his exotic-sounding stage name “Malando.”

The piece was composed in 1936 as “Op. 4,” initially as a purely
instrumental piece titled, “Cosmopoliet.” To give its Latin
American charm, Malando renamed it “Olé Guapa.” This catchy
tune dominated dance halls in the 1950s and remains a symbol
of the fascination with Latin American music in Europe.

It is usually characterized by distinctive accordion rhythms,
accompanied by strings and percussion. The tango was composed
explicitly for dance events. Rhythmic clarity and a catchy
melody were paramount.

TANGO JALOUSIE
by Jacob Gade arr. Ariel Sta. Ana

Composed in 1925 by Danish composer Jacob Gade,
the piece is officially titled Jalousie “Tango Tzigane” (Jealousy
“Gypsy Tango”). The tzigane tango “Jalousie” was a worldwide hit.
Performed for the first time on Monday, September 14, 1925,
on the premiere of the American movie Don Q. Son of Zorro,
starring Douglas Fairbanks and Mary Astor, it placed Denmark
in the world map of music. Gade’s royalties from “Jalousie”
were so ample that in the 70s, it was estimated that the song
was played on radio, at least, once every minute.

PHILIPPINE AIRS MEDLEY NO. 3
by Ed Parungao

This is a celebrated arrangement by Ed Parungao was developed
in collaboration with the CCP Woodwind Quintet during the 2nd
National Youth Summer Music Camp in 1983. Since its premiere,
the medley has resonated with diverse audiences across
the Philippines, becoming a staple in the repertoire of woodwind
ensembles. Today, it is widely regarded as essential repertoire;
virtually every woodwind quintet in the country includes
“Philippine Airs Medley No. 3” in their performance programs,
testifying to its enduring appeal and cultural significance.

NAIS KO
by Ryan Cayabyab transcribed by Frenvee Andra

“Nais Ko” is an original composition by Maestro Ryan Cayabyab,
specially transcribed for the Philippine Philharmonic Orchestra
Woodwind Quintet by Frenvee Andra.

ERNANI CUENCO MEDLEY
arr. Franz Jensen Adra

This is a musical arrangement by Franz Jensen Andra, that showcases
some of the most beloved works by National Artist for Music
Ernani Cuenco, including “Bato sa Buhangin,” “Nahan,”
and “Gaano Ko Ikaw Kamahal.”

OVER THE RAINBOW
by Harold Arlen with lyrics by E.Y. Harburg arr. Adrian Wagner

First introduced in the 1939 classic The Wizard of Oz,
this has since become a universally cherished song– an anthem
of hope and longing that transcends generations.
Today, the piece continues to stir emotions with its heartfelt
melody and poignant message.

In this arrangement for woodwind quintet, the French horn takes
center stage, carrying the iconic melody with warmth and lyrical grace.
The surrounding voices-flute, oboe, clarinet, and bassoon-provide
rich harmonic support and delicate countermelodies, creating
a colorful and expressive soundscape. This setting transforms
the familiar tune into a chamber music gem, inviting the listener
to rediscover the wonder and sincerity of a timeless classic.

YOU’VE GOT A FRIEND IN ME
by Randy Newman arr. Ariel Sta. Ana

This song quickly became an anthem of loyalty and lasting friendship.
Its playful swing rhythm, catchy melody, and heartfelt lyrics captured
the spirit of the film and charmed audiences of all ages.

In this delightful arrangement by Ariel Sta. Ana for woodwind quintet,
the tune is reimagined through colorful textures and vibrant interplay
between instruments. Each member of the quintet—flute, oboe, clarinet,
horn, and bassoon—takes turns highlighting the melody and harmonies,
showcasing the warm camaraderie that mirrors the song’s message.
With its upbeat groove and charming character, this version brings
a fresh, whimsical spirit to a modern classic.

ALL OF ME
by Gerald Marks & Seymour Simons arr. Ariel Sta. Ana

“All of Me” is one of the most enduring standards from the Great
American Songbook, originally composed in 1931 by Gerald Marks
and Seymour Simons. The song quickly became a favorite among
vocalists and jazz musicians for its catchy melody and lyrics.

Frank Sinatra, known for his impeccable phrasing and emotional
depth, brought “All of Me” to new audiences through his various
recordings. His interpretations emphasized the swing feel
and romantic desperation inherent in the lyrics, while also
showcasing his signature vocal charisma.

The song’s structure follows a classic AABA form, allowing
ample room for improvisation and stylistic embellishment.
It has become a staple in jazz repertoire and has been
recorded by countless artists.

Sinatra’s version stands out for its balance of vulnerability
and sophistication, making “All of Me” not just a love song,
but a showcase of the emotional nuance that defined
mid-20th century American pop and jazz.