I do like this piece. It has a lot of really cool things going for it harmonically and melodically. I don't have time to listen to it too many times right now, but I'll talk about the notation because that's what I can do at the moment.
I'd try a few different things with the notation. Particularly when you have a chord with a lot of space in between it. I tend to separate the voices when that happens. One example would be m. 101, there's a lot of space between the bass notes and the chord notes, consider separating the voices there so there isn't a huge awkward stem connecting them. I guess it all comes down to preference on that, but I find it to be much more pleasant and easy to look at this way.
Another thing I would be sure to do is add dynamics and articulations in the score. As the composer you should know exactly when you want a forte or a piano, and let it be known in the score. Don't leave it up to the performer to figure out, because it might not turn out the way you were hoping. I've written my fair share of pieces with just a few spots of ambiguous dynamics / articulation, and when the piece got performed it turned out in a way I really wasn't hoping for, so when the piece is missing dynamics / articulations all together, it's a really dangerous game. You might get a really bland static result or a really, really insane interpretation that you won't like at all. Just something to think about.
You'll find, as you compose more and have people perform your work, that clarity in notation is almost as important as the music itself. Make sure every note you write tells exactly what you want it to do. There are plenty of good notation texts out there that could help you out with this. Best of luck with future works!