An analysis of the theme (subject) using measures 1-4 as an example reveals that it first ascends to C on the third beat of measure 1, then descends stepwise through B on the first beat of measure 2, A on the third beat, G on the first beat of measure 3, and F on the upbeat of the fourth beat. Therefore, it is acceptable to interpret the initial part as having the most energy, which then gradually diminishes.

The theme, including its fragments, appears continuously one after another without interruption. Ensure that the theme is clearly audible at all times.

The fundamental idea of the piece itself can be understood as 'overflowing with playfulness.' Therefore, articulation can be freely applied, as long as it does not become heavy. There are no distinct peak points throughout the piece. Consequently, pay close attention to the tonality and imbue each key with a distinct color.

Nevertheless, as it is fundamentally an optimistic fugue, perform it with a sense of enjoyment.