I like this. One thing that struck me, though, is that your use of dissonance is sometimes somewhat surprising (unless that was the whole point, of course). For example, from bar 39 onwards: relatively harmonious progress followed by this - to my ears - very sudden clash in 42. I feel the work could benefit from a clear harmonic vision: either tonal, neo-modal or atonal, rather than combining those elements at (sometimes) surprising moments. Just my 5 cts, of course.