Very nicely done! As Jefffrey says, you've got it under your fingers, which is a big part of the battle for this one.
This piece has some nice harmony to it, and a bit of interesting counterpoint which is maybe a more subtle point.
And it seems like in the section toward the end you're doing a good job of holding on to the notes that need to stay ringing, like where you're holding a note from the upper voice while the lower voice starts to move down, or vice-versa.
The down side to my ear is a little bit of abruptness or too much even accent on each beat.
So, something to experiment with: in 3/4 time in general you want the first beat to be strong, then the second beat is weak, and the third beat to be stronger than the second but kind of leading up to the first of the next measure. If you do the triangle pattern that an orchestra conductor would do for 3/4, I think you might get the feel. Downbeat, sideways, upbeat.
Then you can do something really subtle. Take that idea and actually kind of superimpose it on measures, so you have one measure strong, then the next measure is weaker, then the next measure leads into the one that follows. Once you get control over that sort of articulation (it's a long term process!) you'll start to sound even better!
Also, I recommend looking at Complete Sor Studies rather than just the 20 in the Segovia edition. There are a lot of shorter and simpler pieces in there which contain a lot of beauty alongside the guitar technique education. About a year ago I was working pretty hard to play this one first, and then I somehow found my way to the simpler opuses (60, 44, 31, 35) and after working bits and pieces of each of those, I think Op. 6 No. 8 is a bit more within my reach.
Either way, keep it up!