One of my first orchestral works, feedback much appreciated

Hey Guys,
I recently finished one of my first orchestral works and wanted to get some feedback on it.

Some background to me and my Expertise:
I played the trumpet and the piano for over 10 Years now, starting at a young age.
I did my finals in music, playing Rachmaninoffs Prelude in g#-minor and a glass etude amongst other pieces.
In my freetime, I play in several local Symphonic Brass orchestras, Symphonic orchestras and sing in some choirs. I also founded an ensemble with a friend of mine that is well-known in my city.
I currently study teaching Music and German.
When it comes to creating music, I originally come from "producing", writing Lo-Fi, Ambient and Alternative amongst other genres.
I always transcribed and arranged classical work for my school orchestra but only started composing 2-3 years ago as an autodidact.

Composing was just a hobby for me for a very long time, but now I'm starting to think about entering some competitions (Local and Amateur level ofc) and trying to get my music played. So any feedback that gets me closer to that goal is much appreciated!
Thanks!

Echo der Liebe_Full_Score_A3.pdf

Edited May 25May 25 by ItIzYe

Great work, I througholy enjoyed it. Quick notes:

your main motif that first appears in the horn, you should use sharps instead of flats, as in A# instead of Bb because you're then leading into the B. Just the more easy to read version. A piccolo to flute switch cannot happen as quickly as you have written on page 4. I have a feeling you know this an ignored it for play back but still worth mentioning.

m. 90 oh my god so stunning. Shook me to my core the same way when my favorite character in a movie dies.

m.120 B natural not Cb.

Really beautiful melodies and accompaniment. This is phenomenal work, regardless of if it is your first. However there are some general things to mention. The first is the doubling, or in your case, half-the-orchestra-ing. Every composer has done it, but it almost always in the beginning of their orchestra careers they do so. You’ve written a phenomenal melody here. Right now, it's heavily doubled across a massive chunk of the orchestra. It's a classic trap we all fall into because the melody sounds so good we want everyone to play it!

However, when everyone plays the melody at once, we lose the unique fingerprints of the individual instruments. What if you experimented with passing the melody around like a torch? How does the emotional weight shift if a solo cello introduces it, and then a clarinet takes over? Try giving the melody to fewer instruments at once, and use the rest of the orchestra to create distinct, evolving textures underneath. Make us believe that this specific instrument is the only one that could say this part of the phrase. Also for the accompanying instruments, find new ways to accompany so even the double basses can have something interesting to do.

I myself wrote (and still write) works similar to yours, but I would recommend fighting your desire for the super double, instead finding new ways to fill the space with sound. You'll find this in most composers, but my favorites for understanding this is Brahms, Tchaikovsky, and Rachmaninoff.

Also resources: Principles of Orchestration by Nikolay Rimsky-Korsakov (Korsakov is a huge stickler for reduction in the orchestra to maximize color)
The Study of Orchestration by Samuel Adler

Edited 1 hour ago1 hr by Some Guy That writes Music