This piece is obviously a major accomplishment from an experienced composer. I enjoyed, as someone else pointed out, the stream of consciousness feeling to it, although I would like to comment on some issues I think have been caused by this. Please don't mistake any of my criticisms as 'I know this and you don't', as I'm sure you have acquired much more experience than I have in your composing life. I just mean everything as suggestions!
The idea of a tone row creating the melodies is a great starting point for a piece, but I don't think you've used it to really create a melody. It seems to twist and turn, always keeping a memorable shape to it (which is possibly the only really striking motif in the piece). But I think you went a little overzealous in your development, creating masses of moving lines and constantly shifting tonal centers and such, losing content of melody and thusly, losing me!
This happens in another way, in your softer, slower sections. It seems to get too tonal. Not to tonal for me, but rather too tonal for the piece itself. And there is seemingly no transition between these sections and the more dissonant ones. Going into 165 is a great moment, with heightened tension all the way from 155, and not too commotion going on to mask the row in its twisted glory. But what is 165?? Suddenly we are supplanted in a completely different tonal world and a different texture, all at once with no warning. I'm not sure if you had an answer for this when you composed it, but I feel it's too much change at once. Perhaps if you treated this more as a different movement, you could develop what you have in this section at 165 more thoroughly. What I mean is that I don't think it fits between the surrounding material very well.
As for orchestration, I think it's fine (except for some range issues - particularly in your brass and clarinets - too high!), if not a bit overly rambunctious as far as counterpoint and individual lines go. There might be too much going on in certain moments, although I'm not sure whether a live recording/performance would clear up some of these moments, or add to the confusion. From my experiences hearing orchestra readings of some of my colleagues, too much stuff going on always detracts from a piece, although this could just be my particular taste. Still! It's harder on the players!
But aside from all that, I think it's a wonderfully crafted piece, obviously having had the thought, work, and love put in it that a great piece of music needs.