Very nice! I'm sure it must be pretty difficult to write for this strange ensemble, especially in this classical sort of idiom where any particularly dark unpleasant noises are very undesirable. I feel like you did a fine job. At no point did the choice of ensemble cause anything awkward or distracting to happen in the music. The music itself was all really beautiful and great classical-style writing, I thought.
Coming on the heels of my first soliloquy for trumpet, my "Soliloquy for Trumpet No. 2", the idea for which preceded its composition, is an attempt to depict the last trumpet the Bible tells us will sound at the second coming of Christ as described in verses such as the following: "... for the trumpet shall sound and the dead shall be raised incorruptible and we shall all be changed." 1 Corinthians 15:52 (see also 1 Thessalonians 4:16). I don't know how far this piece has succeeded to approximate that trumpet's true sound, music, and of course, its powerful impact. Only God knows - and our imaginations can imagine and judge!
A couple sour notes, like the minor third in your restatement of the main melody at m. 17.
m. 11's M7 was also a bit weird, that was my only issue with your saturation.
The techniques were used quite well. I think you captured the idea of direct modulation the best. Experiment with phrase modulations if you have time since they sound so random and energetic when used correctly.
This one's nice, thematic, and moves in its own progression. The lack of a counter motif was delightfully unnecessary. I personally hear this is melody to a scherzo for piano and trumpet though. It seems kind of lonely.
However, I would highly recommend you look into rest beaming to make this performance better, or change some of your 16th notes to 8th notes with staccatissimo markings. It's just kind of hard to read.