I too sense a lack of realism on those instruments. The parts sound too static, the limiter squashing dynamics down in the Dark World Dungeon section is unnatural, and a lot of your leads feel dry. If you're going to be writing for a full orchestra, it's a good idea to:
Make it feel as if the performance is in a concert hall, with attention to the placement of parts in the stereo field and the amount of ambient space they have.
Abandon the limiters and let your parts have room to breathe.
And most importantly, go over each instrument and make them feel more humanized. Loosen up the timings, vary the velocities and emphasize which ones you think are the most dynamic notes.
You can even consider using the volume envelope to shape the dynamics for sustained notes.
The arrangement has the source present, but there's a four-section medley going through straight interpretations of your source material. I liked hearing Ganon's theme adapted near the end of the Dark World theme at 1:19, and similarly, Dark World reprised near the end and accommodated at Lorule Castle. But I would've liked to have heard more of that kind of idea in other areas around the track.
That idea above is one of a few things that can be done to personalize the arrangement in a subtractive way. Other possible suggestions include adding original parts in the background, or even some original writing to make the transitions between sources feel smoother.
It's not bad, but issues on both arrangement and production fronts have weighed this down too much. It'll be a good idea to take it into the Workshop and experiment with new ideas, then try again.
NO (resubmit)