Thanks for share this piece with us - it is very beautiful! You have some creative ideas that come across quite nicely, especially in the lyrical melodies, some of the left hand rhythms, issues of range, to name a few.
I mentioned the range - it is nice that you are sometimes playing the melody in an upper octave. I think you can do more with this: for example, why not put the melody in the left hand sometimes, and accompany with the right? I think a good spot to do something like that would be in a spot like measure 17, because in measure 16 the left hand pattern goes all the way up into the treble - you don't have to suddenly bring the accompaniment back down, but can rather keep it up there in that higher octave for a while, and have the melody then in the left hand.
Another idea, sometimes you could have the melody in it's original octave, but have another accompaniment-like line above it, and it will sound very different. Along these lines, another aspect that was not entirely convincing to me - although it's a nice idea - is the prevalence of octaves in the melody. You could, as I suggested at the top of this paragraph, put the melody in the bottom of the right hand and instead of always doubling at the octave above, create a new line above it. Another way of saying the same thing: instead of always doubling at the octave, vary the intervals; it will give much more interest and flow, and will not sound as static (not that it sounds too static - lovely melodies indeed!)
That's not to say that you should never double with octaves - as I said, it's a beautiful idea. Just be careful not to overdo it.
A couple of times you use an augmented second - in measures 15 and 71. I think you can really develop this idea further. It is wonderfully surprising but I was sorry that it so suddenly disappeared. In general, when you have an interval like that which is so unusual in your style - only two times in the entire piece - it really jumps out at the listener, and it is precisely those sorts of things that you should take advantage of. Of course, don't overdo it! But, perhaps if you used it in the bass line for 8 measures or so instead of one, it would feel like you were putting in a whole new, creative idea, and it would lend the piece some more interesting contrast.
By the way, who is Monika? I hope she enjoys it!