Wow! Super!
Original?? Kudos. Moving.
Ist V @ 0:28 : Word, "To", pronounced "T" Sounded like an artifact the first time I heard it.
When the orchestra fires up, the vocal is overwhelmed. The levels mix well in the beginning. Maybe scootch vox up overall, wouldn't hurt...or split the vox track in a space just before the orchestra, and do a 3 or 6db 'volume increase' on the vox part during the orchestration....or cut the level of the entire orchestra to let the vocal pop out of the mix??
If you could get the same ambience on the vocal as the orchestra, It'd sound gooder, I think...it's coming across dry, in the midst of the wonder. In fact, it may be that a similar chamber ambience will spread the apparent footprint of the vox, and enable it to compete with the orchestra without leveling tweaks?
What is really impressive to me...and sounds great: ensemble left playing theme; ensemble right playing harmonizing counter-theme. One of my constant nits with stuff: no melodic themes and counter-themes to keep things interesting; just laying on and playing of big orchestral chords. You did a nice job of actually orchestrating an orchestra that can stand on its own, musically, without getting boring, or stepping on the main theme...vocal....just filling space. The only things that would improve the call-and-answer are some finishes of the lines using harmonizing higher notes at the ends of the phrases, left to decay when the vox arrives. The lines [french horns?] disappear abruptly in the 'basement' in deference to vox...instead of accompanying vox with 'punch' when the vocal announces....along with the strings. It's like the horn ensemble R is afraid of the singer. And, for instance, when the orch L is playing that repeating fourth or fifth interval, eighths, the accompanying line, orch R, could use some passing-tone, close harmony in the lines to create a tension/resolve pattern with the chord tones R....rather than only being series of harmonious chord tones. The theme R is recognizable, but not so impactful....playing in its own sandbox, without regard to the orch L, with some lost opportunities to interact with tension/resolve to tie the two together in a more intimate sonic dance.
I tell you these are DEEP nits....of little consequence, unless you want to get to a next level of thought and archetecture in orchestration...where guys like John Williams dwell...and the reason they make the big bucks.
There's a sweeping filter somewhere in the mix of lighter orchestration in the beginning...synthetic......then the orchestra takes on a much more trad sound in V1. I think it might be good to go one way or the other..synthetic, or trad sound, with the entire backing orchestration...my preference being trad, 'real' orchestra. You might be able to gain that etherial effect in the beginning, without a synth filter, using another section of high reeds coupled with phat trumpet and alto horn playing fifth and/or fourth intervals....getting a sonorous harmonic interference sweep...along with a swell and ebb volume control??
The wind is a bit much for the seriousness of the piece. This ain't a Disney movie....cheapens your message, I think. Is that the thing that accompanies the intro ensemble that sound like a filter in places???
One other thing...a reprieve of the piano figure L [beginning] during the closing sections would be kewel...a sort of united crecendo....and it's an important early stamp that needs to show itself before the song wraps, I think...I kept anticipating it...it never showed up again.
Sorry to be long, but I hear growth in your comp/orch. Just suggesting next considerations to improve your getting-better product...and things to listen for when you hear orchestrations by the major dudes, and apply.
If I though your work sucked...I wouldn't bother, brother.
OK ..just took another listen. Strongly suggest a re-statement of the last line "A living prayer..."
