Aaaaah classic cinema sound before everything needed to be bombastic big and bwaaah. Oddly besides the Bernard Hermann inspiration, at time it feels like some Danny Elfman can be also heard too. Specially with some of the bass lines on the half way mark. While taking a full orchestral approach this still feels very much unique and I am quite a fan of your approach. Originally, I thought you’ve made it in a notation software since the articulations are chosen very cleanly and fittingly. But seeing Cubase as your screenshot there might be some ways to even improve on what you have on the mixing side. Mind you what you have is already quite good.
TLDR: This is a nerdy monolog.
The biggest factor that feels like it could be explored more and benefit the song even more would be microphoning of the different sections and how you pull certain sound characteristics from the sections. For example, wanting a more searing string sound by pulling up the close mics. While the older recordings had a very roomy sound it was due to being recorded with most of the time only one omni directional mic or with a decca tree (since 1950s) working in L-C-R. Even with some recordings being made in purpose build stages with specific bright room sounds (looking at the Synchron stage in Vienna). So the sound is something different to modern scoring sounds and most sample libraries. So the best way to harness the sound of your libraries is to take every section as their own recording session with their own microphone mix suited to your liking. Next step would be processing of the different section like EQ, reverb and compression or even different processing for short and long articulations. I don’t want do overblow the critique, so I leave it at that. But if you are interested in discussing this more I’m more than open for it.