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Technically, not a fugue in the simple, tonal sense, this piece does fulfill the requirements of a Newtonal fugue. As tends to happen when working out a Newtonal piece, a trade-off between one type of complexity for another is often necessary in order to make the composition workable. The complexity of counterpoint and part-writing diminishes proportionally as the complexity of phase-structure and other formal considerations increases. This is a reasonable principle even when applied to purely tonal music. It is set in a "slow-movement" form of my own design and one particularly suitable for music - tonal or newtonal - whose texture is predominantly contrapuntal. After the long introduction to this act, culminating in the first appearance of the Flame of Life, the function of this section may be seen as that of providing a simple, solid structure to act as a backdrop to the high drama which follows. It is a symbolic representation of the interactions and tensions between the three principal characters.
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