...there was some slight hurrying of the tempo in bars 20-24 (0'32"-0'40"), but even more so at 120 and 122 (5'00"- 5'06"). This seems to correlate to an increase in complexity of the playing, and is maybe just a bit of anxious accelerando. Your approach to bar 93 (at 4'17"), the cadence on C7, was for my taste too delayed (between bars 92 and 93). Then the oboes with ascending thirds at bar 165 (6'15") are legato, but you played staccato (maybe Liszt has it that way, but why?)
Thanks for your perceptive comments, and for your care in giving bar numbers and times.
I like the phrase "anxious accelerando". It is indeed something that happens to me occasionally in live performance. But on this occasion it was actually deliberate: the crescendo and the increasing richness of the texture suggest to me a forward momentum, and personally I don't believe that music of this era should always be played metronomically. Of course the effect is meant to be subtle, and it's entirely possible that I overdid it in this case. Likewise at bar 93 (not technically a cadence, but I know what you mean)--to my mind it's the point of greatest tension in the movement, and needs to be highlighted in some way, but there's certainly room for a more subtle interpretation.
Well spotted at bar 165! Yes, it's staccato in Liszt's score. I hadn't been aware of the discrepancy until you pointed it out.