I performed this same Brouwer Suite in 1982, when I was studying with Richard Stover. The following information is taken from memory of lessons held nearly 30 years ago.
Brouwer was about 14-15 years old when he wrote it, in around 1955 or so. Therefore it has nothing to do with what we consider "Brouwer-style" nowadays, albeit being well-written in-and-of itself. According to Stover, who said he got this information from Brouwer himself at one of the Toronto Guitar Festivals ('75? '78?), the basic concept was to musically depict a day in the life of a Cuban farm worker in the pre-Revolutionary days. (NB: The Castro revolution occurred some 4 years after this Suite was written, and Stover's meeting with Brouwer was 20 years afterwards, so there may be some post-facto coloration here!) At any rate, the opening Preludio portrays the sunrise over the landscape. The second movement, Allegro Burlesco, represents the workers toiling in the fields. (Another side-note: There's a really difficult scale run in this movement which always eluded me, except the one night I performed it in recital, where I miraculously hit it dead-on. I felt I was channeling JW for those 4 seconds.
) The final Andantino is evening time and the sunset, and it ends with the same phrases that opened the Prelude. As the video here says, Brouwer then indicates to segue to his setting of "Drume Negrita" ("Cancion de Cuna") by Ernesto Grenet as a lullaby, the mother gently rocking her baby to sleep. Stover had me listen to Victor Jara's vocal recording of the piece to help with phrasing.
I played the opening bass line of the Prelude in pizzicato, to mimic or foreshadow what was coming with the well-known (by 1982 it sure was!) Grenet piece.
Congratulations on the recording.