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Mike, congrats! really, really nice work there!
Only two little things come to mind.. might you consider inverting the piano parts of the opening string entrances? By this I mean that the violin comes in on a very rich and full piano part, which suddenly becomes more sparse as the cello enters the fray... it seems almost anticlimactic to me. I think that the larger string density would require a slightly denser piano part, while the solo violin of the opening phrase would benefit from an ultra-delicate accompaniment.
(and measure 37, violin seems to be missing part of a beat).
I particularly like the gentle move away from a too-debussyan sonority as the piece advances. (gotta admit, those opening measures could be from some long forgotten work of Claude Achille's!)
I get the impression it could use a few introductory measures, somehow. It's a very sweeping first theme, with a sense of rushing wind, or flowing water (very impressionistic, really). But somehow, listening to it over again, I can't help but think that we are launched just a tad too quickly into that current.
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"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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