The melody is on top. The rest is obbligato. Your playing
reflects that in part, but mostly it does not. This piece
has an orchestral character, IMO. Try staccato in the
bass, an honest 16+16 for 8, and a tiny bit /piu mosso/.
Sor was not the only one to sometimes reverse the roles of melody
and accompaniment, so to speak.
A decent metronome was probably not widely available when
this piece was written, so the unifying effect of a
steady tempo, and the ability to keep it, was better
appreciated than it was to be
during the latter half of the century.
Regards, daveA
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