It's a funny thing. When you hear a piece for the first time, it tends to condition you into thinking that's how it should go, and when you later hear someone else play it differently, then even though the other interpretation is just as valid as the first, it somehow tends to seem not as good as the first. This doesn't just happen when you hear a piano piece played by different pianists, or a chamber or orchestral piece played by different ensembles on the same combination of instruments, but it also applies when a piece is arranged for different instrumentations.
I know this particular Novelette quite well from having played it several times in its (Emerson) arrangement for woodwind quintet, not having been familiar with the original piano version. I'm glad to say that when I later sought out the piano version, I found it to be every bit as good as the arrangement.
Yours is an excellent rendition, bringing out all the little features which make the piece suitable for arranging. I didn't follow with score as I don't have one available, but I still spotted a wrong note in the melody line at 2:02, where you play a G instead of an Ab, but I don't suppose anyone else will notice.
The Alkan sketch is a lovely piece, thanks for introducing us to it. One of the great things about PS is that such little gems as this keep randomly popping up, acting as inspiration for others to try them. I'm adding this piece to my list of postludes suitable for playing at church.
Again, you play this very well, and I particularly like how you voice the hands properly so that where, part way through the second half, the melody moves to the left hand, it comes through effortlessly without being overpowered by the right hand accompaniment.
The only thing I would interpret differently is halfway through, at the change of key, which happens two half bars after a half bar rest. I would make less of a hesitation at the actual point where the key signature changes, for one thing because there has just been a big (and sudden) gap already, which is enough to make us prick up our ears, and for the other because I would rather not separate the chords of the cadence too much; what we have here is a C# major dominant 7th (with missing 5th) resolving to F# major. That E# and B are just dying to move to F# and A#, and making us wait too long for this is just over-egging the rubato a little.