About the enharmonic spellings, you aren't the first, Eddy and Scott called me out on them as well. It is an issue with the program I have. My composition professor said it would be better to write a b sharp instead of a c natural, so it's a notation issue I am still trying to work on
Of course, it´s just a notation issue, but also one of tonal logic. I personally use Finale and with this program it´s very easy: you can change a note into its enharmonic spelling just with one key.
About the first piece being like film music this is a high compliment! I am a studying filmmaking in college (though in the future I yearn to score music for movies not make movie)
Does that mean you will also compose music for movies? I have a talented former pupil, Patrik Pietschmann (also a member of this site, btw), who is really good in composing filmmusic.
About the 2nd and 3rd yes the repeat is not really necessary and I am told the ending is just about as queer as a clockwork orange
I spent days and hours on it and I'm still not totally happy with it, such is the life of a composer.
I personally refered also here only on the notation issue, it´s just unusual to write the double points instead of to write out that bar twice.
Just as a side topic I wonder how long it took Mr. Strueff to write his Intermezzo suite.
I think, he wrote his basic ideas in one move, but than edited details here and there sometimes for a longer time.