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a few comments:
notation, notation, notation.
if you are using Finale then there is no reason for notational elements to overlap - slurs, dynamics, hairpics, etc.. also off-centre notes should be fixed.
musically, this is arch-romantic, it would fit quite well smack dab in the middle of the 19th century. So why is there a tone row in it? It's rather gratuitous.
At around measure 100 there are harmonic movements by augmented fourth that just don't jibe with the rest of the music. They don't serve to place the music in a modern context, rather what they do is underline the fact that the majority of the score is harmonically very traditional and "romantic".
At measure 250, and again at 378 (if memory serves), there's that annoying tone-row. It just comes across as a gratuitous element, it is unrelated to the rest of the piece, and brings nothing to it.
At measure 334 or there abouts, there is more dissonance in the piano part than in the rest of the score, yet it ends up sounding cartoonish. More like vaudeville than anything serious. I don't think that works at all.
Overall, this is a very strong score, if dated in language. The piano part is certainly quite playable, although I can't vouch for the ease of the trombone part, it certainly looks difficult.
Still, an enjoyable romp.
__________________
"Those that know, do;
Those that understand, teach."
-Aristotle-
"toute audace engendrée par l'ignorance cesse d'être une audace et devient une maladresse"
-Debussy-
In musical criticism, when issues of craft and technical consideration are set aside, what remains is more subjective. However, until technical issues are dealt with, the subjective portion bears considerably less weight.
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