Yes, the similarity to the Field Nocturne is striking - perhaps too much so. Its one thing to make a quotation in a piece, its another to do it so blatantly that anyone who hears this will immediately think "he stole that from Field". (That is, anyone who's familiar with Field's music...)
The harmonic structure you use is, um, interesting. I don't know if I quite get the whole F-Gb7-C-F thing. In a piece as tonal as this, it seems just a bit odd. There are some other places that there's some odd harmony as well.
Some of the LH figurations seem a little awkward (not so much to play, but to hear). For instance, in ms 2 you repeat the same F in the LH. For something that should have a flowing feel to it (I assume that's the feel you want), the repeated note seems to jump out as a little jarring.
What's up with ms 7-8? They don't really serve much of any purpose.
Ms 13 - did you mean to have those false relations?
Overall there are some notational issues. 12/8 implies 4 groups of 3 eights. You typically would not write ms 14 as a dotted half, half, and quarter. You would do a dotted half, dotted quarter tied to an eigth, and then a quarter. There are those that will argue that either is acceptable, but in a piece as tonal and "traditional" as this, you should stick to traditional notation conventions.
Ms 17 and 18 just didn't seem to work for me - what were you trying to do here? Is this meant to be a bridge? A flourish? A new idea? You use it again at the end of the piece, so something tells me that it may have been meant as a new idea, but if that's the case, then develop it as such. As it is, it just doesn't work. Notationally this is a mess, but I realize that it's probably the best you could do with notepad.
I do hope that your declaration that this is the most amazing piece evar was in jest. I don't see anything in here that overly excited me.
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