Mid 1940's to early 1950's Hungarian Rave party ;-)
Very well done... I realize it is a piece of yours from 'a long time ago.' While it was long ago, and this movement very well-done (a given, and congrats), these are some things I think best to move away from or avoid.
~~~Even well-imitating a style while your piece still being original is, imo, strictly of use in school, while training, and about no where else; the point of it, whether it is modal counterpoint, 18th century counterpoint, or those model pieces along the way in each semester/era of theory, is to get inside the harmonic hierarchy of the era, and see how past composers made things work. In this movement, you did just that.
~~~The ultimate goal is to have a tool kit and a familiarity with the tools to invent and solve your own musical problems, and come up with your own particular, 'idiosyncratic' if you will, vocabulary and sound.
~~~The other ting... you did mix meters, but imo, when you have one of the more identifiable and 'catchy' odd number meters, casting too many bars of that in a row starts to sound like a kind of dance music best left to much shorter forms or durations. Bartok's six dances in Bulgarian Rhythm work, in part, because the are each relatively brief; a handful, if not the lot of them, would fit into the span of the duration of your SQ movement. (Bernstein's Chichester Psalms, for the most part relentlessly in seven, with its sub-groupings holding static throughout so much of the work (2/2/3), becomes kitchy vs. catchy after only a few measures, and more than a little ironically, a rhythm that supposedly swings, rocks, keeps the listener off-balance, instead becomes a dully predictable bar line, boxy and square.)