Let me share with you this citation from Robert Riggs “Every good composition has a certain (predominant) character; that is, in the composition, the composer has expressed a certain degree of joy or sorrow, jest, seriousness, anger or composure. Heavy and light execution also contribute a great deal to the expression to the prevailing character … chiefly a matter of the proper application of detached sustained, slurred and tied notes”
From what I understand, the composers from the Viennese classical period expected their piece to be highlighted by articulation, and dynamics. But since it was the custom at the time, those elements would not be written in the score. So, a performer must imagine how to apply articulation. For this he must practice articulation for example by playing scales and arpeggio by applying different gradation of articulation from very staccato, to just slight staccato and legato. After the player master articulation in the scales and arpeggios that he can try to apply gradations of articulation in his interpretation of the pieces and improve greatly their expressiveness.
I am trying to practice articulation to improve the interpretation of pieces of that period. I currently am in the learning phase. I find it quite hard to bring gradation in articulation but rewarding. I am surprised to see how it can empower interpretation. I really enjoyed the way you respect the phasing of Carulli’s piece. I think you applied careful attention to details in the execution of this piece, which makes it very nice to listen to. I would be very interested to see how you would try to apply different gradations of articulation in that piece to make it even more expressive. So, I have no real suggestion of articulation, but trying to tempt you to try as with your attention to details you may have very interesting results that I would be very pleased to listen to.