It could benefit from more short term dynamics within the parts in my opinion.
As an example ... the pulsing violins in the beginning ... if all of the notes weren't so close in their velocities it would give the string section there more feeling.
The horns, the fast repeated notes, sound programmed to me. Probably the same dynamic trick would loosen them up a bit and give them more feeling.
I'd bring the strings out front on that section and let the melody shine and put the brass in the back as a supporting section for the melody.
It seemed to get there near the end of that section.
The fast note turns on the strings 0:35 to 0:38 sound programmed also.
Once again probably short term dynamics might make that sound more real.
Also consider note lengths within those fast turns.
The transition into the quiet section is a bit undefined. Possibly a cymbal swell could make it happen.
There's a bit of that sucking sound in the violins in the quiet section.
Checking the ends of the notes in relation to the beginning of the next note can fix that.
Coming back into the strong section at the end could be more powerfull, possibly a volume drop in the quiet section and then a volume rise all the way to the end could get that.
All in all I think it's a great composition. All it lacks, in my opinion, is more dynamics, human feel, initially within each instruments performance, and then finally as a whole orchestra under the baton of a masterful conductor.*
*1 bus ( controlling the whole orcestra ) and 1 bus volume envelope can do wonders for the dynamics of the whole performance.
Okay. Thanks for the review, Steve_Karl I'll make note of those suggestions. Still learning exactly how to use mod wheel (both volume and DXF) to affect the emotion. I think that'd fix 90% of what you just mentioned.