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I think it's perfectly fine to write scores in C (but you really should indicate it on top of the score with a "Score in C" remark). I do it in all my scores and most conductors I know prefer conducting more "atonal" music from scores in C anyways. Your piece isn't atonal of course, but it still contains a lot of non-functional harmony which is IMO quicker to read in C.
The only advantage I see in transposed scores is that you see more easily in what register an instrument is playing, like if a horn has an insanely high note that might be "dangerous". You might also say that it faciliates communication with the orchestra, as the conductor can refer to specific notes for an instrument and the player sees directly in the part which note is meant. However, many conductors automatically transpose such notes to C anyways and will talk about -sounding- notes with the musician, not transposed ones.
Concerning the "Klangfarbenmelodie": I assume flint-wwrr means to have each instrument play at least two notes in a row, so that every note is played by two instruments: For example, have the piccolo after the first two 8th notes also play the E with the flute, have the flute also play the F with the Oboe, have the Oboe also play the B with the English horn, etc. Otherwise the line will not connect properly and won't actually come out as a line, but just a lot of single "dots", all in slightly different dynamics (and if you're unlucky, imprecicely). A "Klangfarbenmelodie" usually works better if the changes don't happen quite so quickly anyways, so you might also consider not introducing a new instrument at every 8th note, but letting one play for a couple of notes before changing (and again always overlapping the last note or better last few notes, i.e. having it played by the previous and next instrument at once).
Generally, the faster a passage is, the more you need to overlap passages played by different instruments if you don't want it to sound disjointed. (Which is especially important if it's played by a not-so-professional orchestra, or one that has no time to rehearse, as a lack of rhythmical precision will "tear apart" such passages even more.)
Anyways, I liked your piece a lot and really enjoyed listening to it.
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