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The major seventh Neapolitan chords were a nice touch at the beginning. The advantage of doing it in major rather than minor, I'd say. Going from a major IV chord in the minor one key can be awkward if not handled correctly and I think that's the main thing I hear that's a little strange in this way. Sometimes you compliment it with an augmented 6th chord or a V chord and it sounds great, but the chords in combination with the melody makes that particular jump sound a little stilted. The middle section kind of stayed that way frozen for a while and wanted to go forward but didn't. I know that could have been done on purpose (harmonic repression is a great way to make an audience uncomfortable) but compared to everything else it just felt a bit weird. You're generally really good at combining your melody with interesting chords and sounds, which I definitely respect. Cheers!

Really nice, seriously. I think at the chromatic saturation part, you could have had chords in the left hand to mirror the melody in the right hand just so it felt a little more grounded and not as random thrown in there. Remember that chords are another way to execute saturation. The E and F# before going back into G major was also nice, but it sounds a little bit awkward because the Cb is enharmonic with B, so it sounds like you arrived at the I chord before you actually did. The reharmonization was great! Remember that you can use this to your advantage with modulation too! For example at m. 38, you could have stayed in F major and had your melody adapt to the new key if you wanted. Reharmonization just opens up possibilities. :)