You might consider bringing in the flute here, alternating between high A and G, to compliment the horn and clarinet.

First and foremost, this is a very pleasant piece, and you've done well to be so successful so young. The following is a 'critique', and is the nearest I can get to thorough. It is not supposed to be an attack, and I really hope that my comments are useful to you.

The introduction in the piano starts with a vague quotation of the first theme. You choose instead of firmly establishing tonality to start in C minor, before 'modulating' into G minor. Instead of the firm perfect cadence V7-i, you use the aeolian v-i, which does not seem so definite (my theory knowledge doesn't extend too far, forgive my occasionally vague ramblings). The brass double notes which the piano is playing, adding a little force to the dominant note, but musically adding nothing. If you continue to choose to keep the aeolian cadence, I'd voice that chord 5/8, and still if otherwise. The brass could also play the dominant. Given the strength implied by the sffz, I'd also use the strings to emphasise the bass.

The lyrical sound of the oboe and clarinet is somewhat drowned out by the force of the strings in the exposition of the first theme, especially seeing as all three instruments doubling the oboe are doing so at the same octave. The accompanying figure could be given some more strength by putting the bassoon and cellos an octave apart.

The actual first theme is a little odd, also staring in the subdominant instead of with the tonic. If the two phrases were reversed, so the harmonies would progress i-iv instead of vi-i, it might sound more comfortably within the key, without removing any of the musicality exhibited elsewhere. The two-voice 'interlude' again keeps everything in the same octaves, even though the tessitura of the instruments playing is often more suitable to others and it would give a thicker, more 'orchestral' feel if they did. The repetition of the first two bars of the theme can now start with the subdominant, but rather than return to the tonic, if I were writing this, I would go to chord vii, but reharmonised to be F minor. This way it would be a quotation of the updated beginning of the theme raised a perfect fourth.

Also, under the MuseScore pallette, you can add brackets to families of instruments and doublings such as the Violins I and II. The dynamics, I believe are always written below the stave which they refer to.

I realise that you might not want such a thorough review of your work, but if you have found my comments useful, let me know and I'll continue through the rest of the piece. It is so much easier to suggest improvements to another's piece than it is to improve one's own, so I'd be happy to either continue writing, or send you a score with my suggestions implemented. Thank you for sharing this work with the world, and best of luck for the future! Although this post is a criticism (which you asked for in your group placements--'music for improvement', 'critique and review'), understand that I enjoyed this immensely, and I would never be capable of writing something of this scope or enjoyability. Bravissimo.

omg thats amazing, well done :)

Well done! I mean really great! Even without considering your age, this piece is fantastic. Just one thing... the silent spaces... they are kind of awkward sounding. Although that could just be me not wanting the music to stop!

I LOVE IT! Great work. A highly enjoyable piece.

I love it! Pianok98 took the words right out of my mouth (or keyboard?). I suggest adding a cadenza in the second draft, and I eager await the following movements.

Fantasic, an enjoyable melody, cleary a lot of time and effort has been placed into this beautiful piece, inly the sound of a real orchestra and a real acoustic piano can amplifi the sound created in this piece. Great job!