Well done, Rob.
A Section: You put accents on the first note of each bar, but Tarraga places accents on the 2nd beat, as befits a mazurka. So, aim for that second beat each time: one TWO three, one TWO three. Be aware also that the notes on that second beat (B, F#, D#, B) outline the Dominant V chord, B Major. This is an interesting compositional device, to highlight the V chord, even though the chords under those notes might not be the V chord. For example: the first B (Bar 1, beat2, fret 7) is on top of the I chord, Em.
B Section: Note that, by contrast, the second beat is avoided by the melody (not always). This is another clever compositional device, setting you up with those second beat accents in the A section, and surprising you in the B section by avoiding them. There is a mind at work in this piece, not just a heart. We must rise to the occasion.
Overall, notice the tempo indication of Lento at the beginning. I would say you are playing it (like most people, I feel I must add) too fast for Lento.
One of the interpretational choices is whether to play this piece in a largely regular rhythm, as you do here, and as many mazurkas are danced in Poland, or not. I'm not aware Tarrega ever visited Poland, or danced a mazurka, so I personally do not feel a need to keep a set rhythm throughout. For me, this is a very Romantic piece, and it can take quite a bit of pushing and pulling of the tempo: rubato, in another word.
I hope you don't mind these comments?