Thank you for sharing this with us, Andrei.
It is a compelling piece, isn't it? It is one of my favorites, too. Your tone is very nice, even while listening on my cheap computer speakers.
It is a really good idea to record yourself now...and then, maybe in six months record again. You may be surprised at how much progress you've made. How long have you been working on the piece?
If you want suggestions, I offer the following. I listened through twice, and I guess the thing that most stood out were the slowing down and speeding up. Although this is a piece from the Romantic era and one can take some liberties with timing, there were times the slowing or speeding didn't seem to go with the phrasing. Perhaps this is where you are finding it technically difficult. There are many ways to solve a technical problem and this is where a teacher is so useful. If you are studying on your own, then sometimes it is difficult to see exactly what you might do to fix the problem other than countless repetitions (which is not necessarily an approach that will get you to your goal). Sometimes a different fingering works, moving a shift to a different place, or a particular exercise. If there is a particular thing you have a problem with, you could put that in a specific question and post it in the technique section. One of the teachers on the forum might have a good idea or exercise that will work for you.
My teacher has taught me to mark the phrases and within the phrases, the "arrival" points (climax in the phrase, cadence, etc.) right on the score. Then, when working phrase by phrase, I must decide when the music should be moving forward and when it should pause for a breath. During this time, if there is an obvious climax in the phrase, one looks to see what dynamic the composer has marked. If none is marked, you might feel free to decide on how you want the phrase to sound dynamically. Try it out. See if it sounds appropriate.
He also has me listen to various versions of a piece. I should note how their phrasing differs (from each other and mine) and where they are moving the music forward and when they are holding back. Which version sounds more like the one in my head? Do I like one version better than another? Why? What are they doing in the version that I like that I am not doing as I play it?
Then, when I do decide on a dynamic....how am I getting there? All at once? When does the change start and how does it end? Does it sound like too abrupt a change? Does it go with what I am doing in the next phrase? (To find that answer, I have to look at what I am doing with the piece as a whole.)
Well...you can see there are a lot of fronts to work on.
But it is all fun and a journey of discovery. Learning these skills I think is easiest on a piece you REALLY love...then you don't mind the hard work and practicing it a lot.
When the sun shines, bask.
Classical Guitar forever!