No 1: A baratinha de papel
No 2: O gatinho de papelão
No 3: O camundongo de massa
No 4: O cachorrinho de borracha
No 5: O Cavalinho de pau
No 6: O boizinho de chumbo
No 7: O passarinho de pano
No 8: O Ursinho de algodão
No 9: O lobinho de vidro
A baratinha de papel: The little cockroach here is not very lively; this is a highly atmospheric opening to the suite, slowly unfolding before a spicy tonal cluster ends the piece.
O gatinho de papelao: The cat is dozing, Lentement, and only gradually stretches itself before settling down to a soft cluster of B flat and its adjacent keys.
O camundongo de massa: The mouse has the field to himself—running about, Très animé, here is a toccata-like and relatively extended piece that coalesces into C octaves at the end, as though he has finally been caught.
O cachorrindho de borracha: The dog here is not to be disturbed. This highly imaginative piece is like a brown study, with the animal quietly musing over the day’s events, recollected in serene tranquillity.
O Cavalinho de pau: The horse will not be still. Here, this lively little animal is all-action, getting faster as the time signature changes from 3/4 to 2/4 before a breathless conclusion in an individual G tonality.
O boizinho de chumbo: In contrast, the young ox will not be hurried. Un peu modéré is the order of the day before it ambles to the shed where it retires for the night.
O passarinho de pano: Set almost entirely in the treble, but not hurrying too much, this brilliant piece anticipates Messiaen in extraordinary fashion.
O Ursinho de algodão: The little bear is both playful and gracious, if the composer’s tempo indications are faithfully followed to conjure the appropriate mood of this tonally simple piece in C.
O lobinho de vidro: Finally, the suite concludes with an extended study, very difficult to play, the wolf anticipating Peter’s animal—‘this way, and that’—before a tonal cluster, centred upon E, brings this suite to a wondrous conclusion.
from notes by Robert Matthew-Walker © 2000