Hi, I impractically posted this as a reply to your comment to my video of this piece, but assuming you didn't check back on it, here were my thoughts on yours ...
Paul is quite right, you have very little to learn when it comes to this piece. In case you are interested I would make the following very small points;
- check your 6th string is in tune when you are tuned to D (its a tiny bit sharp)
- enjoy your bass range a bit more, especially in the bass motif of course
- do the first slide, don't be embarrassed about seeming sentimental
- the second crotchet/quarter note of the main theme has an accent on it. So do that, I'd say Tarrega had the best ideas when it comes to his own piece. But you can also try enhancing the accent by shortening the beat before the accent (the first note of the theme)
- consider experimenting with the exact sonority of the harmonics at the beginning (and end) rather than just making it random, particular parts of the string produce quite different, some more interesting than others
- consider more variety in the timing of the ornaments, some should be quick but others can be more interesting played as triplets
- we can all do more to clarify the difference between the tune and the accompaniment, especially in the F major section when the chords are above the theme on string 3.
But among all the things I think you got exactly right;
- you control the basses, not letting the D ring under the others
- you control your speed in the fast semiquaver/16th passages, so one can still hear the pulse, rather than losing it in a messy flurry
- you space the rhythm properly at the beginning - most people don't seem to notice the duration of the first chord!
i have some fond memories of playing in French churches - but I was more than twice your age at the time!