Thanks for your comments John.
JohnGrinsted wrote: In the first place I think you could just play it a little bit faster and with a bit of "let go". It seems that you've got the basic shape but you just need to express yourself more. You could try shutting your eyes and imagining you are in some Spanish setting.
I agree that it could be a little faster and "letting go" would help, but I'd still like to find out whether there are any specific details about the way I'm playing that phrase that I could focus on too.
JohnGrinsted wrote: Alternatively, seek out other recordings of this piece, there are so many to choose from I won't even mention any. Listen for the ones that really resonate with you.
I have many recordings of this piece and I know the performances I really like, but the trouble is, I can hear they are doing something I'm not - but I can't pinpoint it! It is also true that practically every pro who plays this piece, plays that passage slightly differently, which complicates things further.
JohnGrinsted wrote: At the end of the day, I think it was what you feel when you play that counts and it can sometimes take time before we can take ownership of a piece and express ourselves through it.
I agree that one's personal feelings are important in helping to bring a piece alive. I feel if someone is really "in synch" with the music, it results in more sensitive playing and the many subtleties that exist within great music get communicated more effectively.
I have thought of another possibility: Perhaps, I'm not emphasising the C in the mordent enough? That's tricky to do, as you have to hammer-on to it at speed. The emphasis in the mordent would then be Bb-C
-Bb, rather than Bb
"There is no duty we so much underrate as the duty of being happy.
By being happy we sow anonymous benefits upon the world."
Robert Louis Stevenson