Yeah, I'll second the far too much reverb comment. I feel like we're mostly hearing the reverb.
You're trying to gain size and scale through wetness, and that is the wrong approach. The correct approach is way more complex, and is mainly comprised of three things:
1) Great attention to musicality and dynamics. You paid a lot of attention to the former, but not enough to the latter. Your bigs are big for sure, but your quiets need to be quieter. And from your bigs, it's really only your 1 or 2-bar crescendos. The hits and more staccato sections need to be punchier (not mixed necessarily -- though, yes, mixed punchier too, but more on that in a minute -- but in terms of performance/programming).
2) Dryness (and the right ratio of wetness at the right times). Abbey Road is an amazing sounding room, but the reverb is not nearly as long as the one you're using. Obviously VI composers always mix too wet because it covers up the faults in their libraries and programming. That's fine -- just get better in both cases as you're able.
Excessively wet mixes also gives them a sense of placement within the room -- a very false sense. Focus on actually placing elements in your room, rather than simply giving them a hotter send signal or flipping their send over to pre-fader and lowering the track volume. Look into how EQ, compression, multiple reverbs, literally playing things slightly more behind the beat, etc can influence your sound and sense of physical placement within a room. Also, use some smaller libraries or even solo instruments stack with your larger ensembles to get your early reflections filled out. Go a little intense with their vibrato automation (which you should do more of). Oh, and using libraries with true divisi will do wonders in aiding both your inherent mix from the get-go and your realism!
3) General mix. You have too much 2k, too little 700hz and 6k, not quite enough 200-500 or low lows. Go really study the sound of real instruments, up close, in person, and check out the frequency ranges they really inhabit. Obviously John Williams like this enhanced in his scores -- the hugely present high end in the original, which your mix is lacking, is a very important element in John Williams' sound, especially in this era. It really aids in making those violins soar, and having the winds gently float above and behind them. But again, nuance and moderation is everything here...don't just go and throw a high shelf on your master. It's success by a thousand cuts with saturation and selected high end boosts on specific instruments. But I guess that's true of every frequency range.
All in all, you have a really solid thing here. Just start taking it to the next level -- you've clearly got the chops for it!