Good day, gentleman,
we're surprised to hear something completely else than stated on the description. For us, it sounds more like an army marching to war rather than a single bandit sneaking around.
You've started this piece with a pretty good introduction and proceeded with a rather suspenseful cello rhythm in staccato (which sounds like from X-Ray-Dog). It has a traileresque atmosphere. We also liked the effects in the middle. What we did not like so much is the awkward fade-out at 1:33. It would have been better if it stopped suddenly and still the effects would fade-in just splendidly. If this piece is about sneaking, it would have been better to compose something more shallow. Especially the dynamics indicate something completely else. It would be also nice to let the celli play quiet to let woodwinds or other instruments play some melodies for a short (or longer) duration.
You have some pretty common passages with the celli and the percussion, but still with nice accents. Usually after you introduced a horn, for example, in the celli-sections you get "empty space" with at-rest after that, because the listener is expecting to hear something again. To get around this we suggest to add some swelling brass/woodwinds or little gestures in these parts.
In our opinion the ending can not really excel the parts before. We think you wanted a really big final though. To achieve this we recommend to make an even stronger crescendo, many more instruments (especially high strings with woodwinds), a tremolo timpani and some cymbals. You can also make small climaxes by piling up instruments on the celli-rhythm, which would give you a very nice diversion and a dramatic feeling (if you want to keep this idea as sneaking).
The sound of your brass and violins are pretty near. If you want to have a more realistic sound, you should give the strings more reverb and the brass more reverb and a little bit of high damping, because they are sitting quite far away in an real orchestra. Also the panning of your instruments could be much wider. All together with a propagation delay and you have a much more orchestral sound. At 3:14 you get an phasing-effect in your brass. To remove it, try to use different samples or try to get around with some minor changes in the pitch of one of the instruments or just let one instrument play. Your brass could really need some breaks for breath as we do not think you have some supernatural players with ironlungs.
We hope we could help you with our critic.
Sir Edward Eisenworth