I like how you open with the horns. And your writing for strings is excellent.

Some lovely touches, Rob! I particularly liked the "foreshadowing" of the rhythmic motif in the violins at the leggiermente section, and the cello line at the start of the repeat. The sforzando just after B was dramatic and "spicy" (to use one of Thomas' words) - in a good way. A few odd notes along the way, like the last bassoon note and something in the chord at C (violas playing a B-flat? Timpani playing an F? in what should be an emphatic C-major. - [I can't quite make out the notes for certain on my small screen, sorry.] ) and I did feel the introduction felt hurried rather than stately and relaxed. Well done.

Check your Clar. transposition 4 measures before Rehearsal B.

ROB: Good job. There are some concerns with balance of sound in the second section that Thomas probably addresses. I did like your solution to the repeated figures in the next section! It's one solution but, believe it, it was the toughest for ME to accomplish adequately! Not sure if the piccolo was necessary in your score. In one spot near the end the Flute was scored in a way that it won't be hear properly. 😊

Rob: um… wow…. Very different. I’m not sure if there are a few typos, or you’ve decided to change up the harmony. Some of the colours are lovely, but some feel a little jarring. And in Section B, when I expected you to come out with all sorts of amazing colours, you played it safe, without much variation. Take a good look at the score for Beethoven’s 6th symphony. Find the bits you really like, and take a close look at how old Ludwig managed them. In an effort to be original, I fear you might have missed the opportunity to learn one or two of the master’s cleverest tricks.

Interesting score with a lot going on. Many creative ideas and original embellishments. But TBH, like Thomas, I’m not on board with your re- (or mis-)interpretation of Beethoven’s harmonies. In section B, you give the figuration to halved string sections, which is unnecessary. Strings can play incredibly soft, and will sound more homogeneous in a bigger group. A good thing is that you made this passage perfectly playable, which was one of the major pitfalls in this challenge.