Liszt 'First Mephisto Waltz' - orchestration

This is an exercise in orchestration of a part of the gourgeous middle section of Liszt's first mephisto waltz. The popularity and virtuosity of that piece overshadows imo that it is an utter masterwork of thematic transformation and musical development. Much of the rest of the work that comes after this orchestrated part is based on material heard in this section, so typical of Liszt. As Always, Ashish Xiangyi Kumar explains thoroughly in another brilliant analysis here:    • Liszt: Mephisto Waltz  No.1, S.514 (Monter...   .

I am only a beginner and amateur orchestrator, so here is a point I need to make:
⦁ The music notation is full of mistakes: wrong enharmonic spellings, no bowings for the strings, redundant dynamic markings etc... I can't be bothered to change all that, this orchestration is an exercice not in musical notation, but in musical creativity. I hope I excel in the latter rather than in the former.
⦁ I am aware that Liszt himself also has an orchestration of this piece, and that the piece was originaly for orchestra. I did not make this orchestration to improve on Liszt's.
⦁ I used the piano version as a guide to the orchestration, because I am more emotionaly stirred when I hear it than when I hear the orchestral version.

I chose the flute in its lower register for the first couple of phrases, because to me it translates perfectly the dreamy and voluptuous fealing of this section. Liszt uses the cello, on the A string presumably, but when I hear the piano version, I find the cello to be way too intense for it. This is a matter of taste.

Please let me know what you think and if you have criticism, it is very welcome, and may it be about voicing, the choice of instrumentation and any missed orchestrational oppurtunities etc; rather than technicalities like the music notation, which I consider to be secondary in importance when learning to orchestrate. I think that might be an unpopular opinion.

(If you are curious, I got accepted into music conservatory studying composition, but I quit last month, because, among other reasons, the way the teachers and students teach and think about music I found to be unbearable. I guess once and autodidact, always an autodidact.)