QcCowboy

just to answer one of your questions:

it is usual to give key signatures to english horn and clarinets, which are transposing instruments as you well know.

However, it is also usual NOT to give key signatures to the horns.
notational convention allows for the existance of both horn parts with and without key signatures, however, it is more "correct" to write horn parts without key signatures. The horn part, however, is still transposed as per an instrument "in F".

I'm sorry you didn't understand my melodic contours. There's not much I can offer you in that regard. That is how I construct my thematic material, cell by cell.

I don't use octatonic and whole tone scales for the simple reason that they are limiting and tend to back one into a corner harmonically.

I don't think my harmonic pallette is any weaker for it. Especially considering the extensive use I make of polychordal material and pan-tonal counterpoint. I think if you give the main theme of "Forets Boreales" another chance, you just might latch on to how I am treating my material. There's nothing haphazard about it. Every note has been very carefully planned, and the contour of the phrase carefully and delicately layed out. I spent a good amount of time tweaking those lines.

I'm a tad surprised you find it sounds like "one large chromatic group of ideas", particularly since the harmonic/melodic language I use does not tend to emphasize chromaticism. Generally, my material launches from diatonic cells (think of them like tetrachords). The subsequant tetrachord might not belong to the same key centre as the preceding one, but the general line is still not quite chromatic.

Anyways, thank-you for taking the time to listen to the piece, although I presume you only heard the first two movements, since you didn't mention the 3rd.