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I'm sorry to hear that you didn't enjoy the piece. The seconds at the opening were entirely intentional (during the exposition they're all functional) and are just the sort of thing in which Hindemith and Walton delight. The inversion was supposed to soundstriking, since its first appearance is in counterexposition (cf. A minor Bk 1). Obviously the formula did not write the piece. I did. Fugue is essentially a process, and there's always a danger that one will simply run away with the subject, especially if one dispenses with a regular countersubject (as I did, in order to maximize harmonic possibilities). I accept the criticism of using all four voices most of time. That's unidiomatic, and something I've learnt from writing this.
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