Thank you very much everyone for listening and taking the time to give advice.
ashworth wrote: The only comment I would have is that, in the places you mute with the right hand, I would like to hear the chord left to die away naturally—but I guess that would violate the score?
I'm not sure there is much space for that, as granadina says. I think for musical reasons too, there is a case for damping the strings at the end of each section. However, I think I should follow Stephen's advice and damp them in the way he suggests during the piece and only damp them with the whole hand at the end. That way the damping won't look, (and maybe sound?), so final.
ashworth wrote:I wish I could get the beautiful, rich tone you have, especially in the treble.
Thanks! It's all in the pushing of the string, towards the soundhole, before releasing it, although it's difficult too see that from the angle of the camera. Also, keeping your nails the right shape and as smooth as possible.
I have observed that many non-professional players struggle to achieve a full sound. They tend to pull the string away from the guitar rather than push towards it. I think it's because human beings' hands have a natural "grab" action, (fingers move more easily in the direction of centre of the hand), but to produce a full tone on a classical guitar, one has to stop the ends of the fingers curling up and keep the whole finger at a similar curve as one approaches, touches, pushes/plucks and finally releases the string. When my teacher first taught me this action, I found it felt very unnatural, but it can be learned!
The best thing to do, once you've got the right action, somewhat, is use your ears. If you hear a sweet and full tone when you play note, keep plucking the string like that. The rewards you will get from hearing a better sound from your guitar will "encourage" your hand (I suppose by laying down some muscle memory), to maintain the right action.
Hope that helps!
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