Very interesting comparison, the fact the two versions are in the same key makes the comparison easier. Gomez-Ruiz takes the c-minor section a good deal slower, but the piano's sustain pedal outdoes the guitar's sustain every time.
Two noteworthy aspects to Segovia's performance, in comparison to his earlier/faster recordings of "Sevilla":
(1) to quote Phillip de Fremery in "Segovia:Transcripciones" (Berben Editions), where he discusses several aspects of Segovia's playing:
...the second among these, which literally exploded into the listener's ears during Segovia's final tours (and which was recorded during his White House concert) is the two opening triplet figures in "Sevilla". It had long been the custom, owing partly to the speed involved, to employ ligados (slurs) in the playing of these passages. Yet he sat down, in the eighth decade of life, and pumped them out entirely articulated in tirando. It was the aural equivalent of watching tracer bullets. It was an electrifying (and in that particular situation revolutionary) use of the technique. Even more than that, it was perfect.
(2) In the c-minor section, Segovia uses a different transcription than the Llobet version he had recorded so many years previously. This setting is the more "authentic" approach, closer to the piano score, and not as freely-formed as what Llobet had presented.