Just finished listening to it. Overall I enjoyed it.
I really loved some of the parts where you are building it up lots (I think a good example was around bar 81 - dissonance good here too!). I would have liked them milked a bit longer though (I think like the 1812...errr... well... maybe not that much...). Some of the dissonance was really effective imo (I got images of being on a motorway, where you have that horrible background hum that always seems to sound dissonant to the music you're listening to). However, in other places I felt the dissonance served no function and was dissonance for its own sake (e.g. bar 67).
I'd also say that some of the string parts sounded a little contrived and inorganic (this is only a minor point, I'm trying to find something useful to say). Btw, when you wack five lines through a note (a tremolo), do you mean "play semihemidemisemiquavers of that note"? I had always thought that was what it meant - tell me if I'm wrong. If that is your intention, I certainly wouldn't like to play strings for you...
It'll be good to here some of those tunes in full context. Also, note that I am completely foreign to atonality and therefore my view should be taken as that of a general, a bit Romantically biased, orchestrophile. I hope my untrained views are useful anyway
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