Thanks Jack for the comments. You may be right about me speeding up the tempo on the Sor, what I was trying for was a flexible tempo guided by the melody notes, as if I were playing them without the arpeggio accompaniment in a kind of rubato expressive fashion. Then the arpeggio part adjusts to the particular tempo of the section that it goes with (that was the idea anyway, it worked better in some of my practice sessions!) Sometimes I could really hear the low not on the arpeggio as kind of a cool repeated note brought out a little more, and the motion of this note from chord to chord is interesting - I was hoping to bring this out but don't think I really made it happen.
One thing that has helped me on some of these barres is knowing which notes are actually held down by the barre (in most cases it seems like it's just two), so you don't really have to press down all 6 strings, just the ones that are played that aren't fingered by other fingers. I can focus my pressure on these points so I don't have to press as hard and I can wait to press until the note is needed - also this guides which part of my index finger goes over those notes.
I see from my mistakes that I really need to practice the beginning 6 measures of each song a lot more to avoid false starts.
Guitarras: 1973 Manouk Papazian (Spruce/Morado), two I have built, and an old Telesforo Julve parlor size