The clarinet and horn have uninterrupted streams of eighth-notes for mm.10-22, but most players will need to breathe. You might want to manage where they cheat that time (and quite possibly drop the odd note). I speak not only as a composer; Tuesday night I'm getting together with two wind players for beer and chat, and that is about the first thing that would catch their eye if you gave them a part . . . it would strike them as careless on the part of the composer.
And the sound of the piece is good; I don't want what looks like notational inconsideration for the wind players to be an obstacle. Make sense?
I second the above.
I would also second Karl's prior comment on that ostinato segment -- it runs too long, the same, using the same instrument in the same register, and therefore becomes quickly dulling. The breathing allowances for the players are also a real consideration.
There are any number of ways to re-approach that without having to re-write the activity above it. You can alternatively distribute it around the several instruments -- and not in the same register, and / or by leaving one note of the figure out without changing the overall placement or 'motor drive' of it. Since the activity over it is occasional and somewhat pointillistic, there are, then, instruments strategically free here and there to take on the ostinato figure and 'let it travel a bit.' It could also, so placed, appear in retrograde, inversion, retrograde inversion and the ear will still 'feel' it is present. Once it is briefly established and before it becomes dulling, there are plenty of ways to skin that cat while keeping the cat's presence.