It has some interest and is quite idiosyncratic (I like the F# then G natural progression), if with fairly obvious Liszt stylistic references.
A couple of suggestions:
Firstly a very minor one, regarding presentation. If you are playing from memory in public, put the music desk down!
Secondly, your composition is a bit harmonically static. It's all basically in F# minor or F# major. One traditional way to increase interest is by having different sections were in different (usually related) keys: this has the merit of combining dramatic input whilst drawing attention to structural form. So, for example, it might be an improvement if an F# major section was in D major, and it's easy enough to get between the keys: arguably you don't even need a modulating bridge passage. If you look through, for example, Liszt's bigger works, you will see that he deploys this sort of strategy frequently. As it stands, I think the dramatic impact of your composition is limited by the harmony not being terribly sophisticated, and by the limited level of dynamic variation (which may of course be due to the recording equipment used).
Keep at it - I happen to think composition is very rewarding and can be distinctly beneficial to performance and interpretation within the repertoire mainstream.