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Regarding timpani: is there a reason only to stick to three notes? You might want to give the timpani a key signature so it isn't dissonant to the rest. As with my comments on voicing and player numbers they still stand. I would have a lot of comments regarding part layout, but my first note is: keep this one on two pages. Make it fit.

Yep that's completely fine! It's actually surprisingly unusual to play two timpani at once. There's nothing difficult about it, and I certainly wish more composers did it, but I'm just letting you know. I think the reason might be that the timpani generally supports the bass, and having notes close together in the bass can occasionally get muddy - but there's no intrinsic problem with that. Mostly, timps might get written in octaves or 5ths. As long as you're aware of what you're doing though there's no problem with writing them in 3rds or less. The other thing I notice about the part (and it's in other parts too) is your tendency to write quavers in sextuplets, for example starting in bar 108. This is technically correct but can be a little misleading. When I read the part in my mind, my instinct is to play them in the space of a crotchet instead of a minim - and then the last quaver triplet, oddly enough, gets played as a crotchet triplet because I subconsciously realise I have two beats left! I think my brain sees the '6' and automatically assumes that they are semiquavers, because 95% of the time I only see sextuplets with semiquavers. Writing these as separate triplets would be better - even in a full bar of triplets, the safest way of writing them is generally as four separate triplet groups. The same goes for crotchets - it's more common to write a crotchet sextuplet as two separate crotchet triplets, although it's not quite as confusing as the quavers.

Wind bands are extremely widespread and are often happy to play new compositions, even if just once at a rehearsal. I've played student compositions myself while in my uni wind band, and I've had a composition played by them. However, this isn't quite a wind band piece - for example, the standard wind band orchestration includes 2 flute parts, 3 clarinet parts, 2 alto sax parts, 3 trumpet parts, and so on. It's flexible, but having 1 of each part makes it seem like it's for a very specific ensemble. Yes, the timpani part is unplayable as is, because most of the time only 1 timpani is able to go down to that range of E and below, and you've written 3 notes in that range. Putting it up an octave would help, but it's also rare to get the top timp going up to a C.

I think that it could be a great soundtrack, for a theater or something like that.