There are a couple of recordings on YT which give a full performance of this work. Torroba's forte as a composer was writing 2- or 3-minute songs (zarzuela) or pieces (guitar), so with the larger compositional structure he has attempted here, it's easy to see the discomfort. Also realize that Segovia would have edited the deuce out of it, cf what he did with the Juan Manen Fantasia-Sonata, which really seems to be a different piece when heard in the urtext Berbèn version versus the Schott edition.
The challenge with many of Gilardino's fingerings is that he sometimes juxtaposes open strings with closed/fretted notes played in high positions. He's extremely familiar with the instrument, to be sure, but treats everything as if all the notes have the same timbre in any position. The resulting timbre difference from open v. high fretting is often awkward. Yet there's also sometimes no other way to play what's written. So steep editing is called for.
The really excellent thing is that, thanks to Gilardino's unflagging efforts here, we even HAVE this piece at all, whether to play, study, edit, listen to, or discuss.
Salt Lake City, UT