Symphony in A Major (2022-?) - part 2

I had originally started this back in the summer of 2022, and I did receive feedback on the 1st movement earlier. Here is the complete 2nd movement and what I have so far of the 3rd. The intention is for the music to be in a late 19th century style, with inspirations by Brahms and Ashton. Full dynamics are included, although sometimes I still believe they shouldn't be strictly followed, and that the performers should have significant choices with regards to dynamics overall. After what happened with the 1st movement I wonder if the 2nd one turned out too simplistic, but maybe the 3rd so far finds the right balance.

2nd movement: 17:03, 5/4 in A Phrygian

3rd movement: 12/16 in F major 

There are a couple of things I would like to say before I comment on the material.

1. The score is a little intimidating, given the bars a quite condensed on each page. It would be better to have a copy of the score that is more easily navigable. 

2. The sound sets I don't think do the work much justice. I don't know what software you use, but I would recommend Musescore4, which is free to use and has much better sound files. 

Of the music, I have to be honest that I don't warm to the opening material of either movements. They are quite monotonous, without much rhythmic or harmonic variety. I appreciate the first movement, especially, is 17 minutes long. But it is important to gauge the listener early on to encourage one to listen further. 

I don't mean to be harsh, as I know how much work goes into these things and are often deeply personal to our individual effort. However we should remind ourselves to think of the listener and critic first and foremost, if it is our intention to share our art to the world. 

Thank you for sharing. 

Overall, your biggest problem is that you seem to be almost writing a piano+harp double concerto. The focus and complexity are so disproportionately weighted towards these two instruments that it's a serious problem for your score.

I highly recommend for beginning orchestrators to basically just pretend the piano and harp don't exist, to avoid accidentally overusing them.