1. Prelude

Before discussing performance tips, let's first consider practice tips. This prelude is written with an almost continuous flow of sixteenth notes. While the tempo does not fluctuate drastically, the evenness of notes often breaks down in sections where each hand plays two sixteenth notes. It is advisable for learners to practice both the left-hand and right-hand sixteenth notes initially at forte, emphasizing each individual note. By doing so, the evenness of notes will not be compromised even in the pp sections at a faster tempo.

Although this collection of pieces is inspired by Baroque suites, this particular prelude expresses great optimism and joy. At the beginning, there is no need to make it excessively marcato. Apply only a slight accent to notes marked with an accent. The melody begins in the left hand, starting from the fourth beat of measure 4. The pedal should be continuously depressed. At measure 9, the atmosphere changes dramatically. It feels as if one suddenly enters a world of fantasy. Reduce the volume as much as possible, then gradually increase it towards measure 18.

Particular attention to note evenness is required in the following measures:

• 19-20
• 23-24
• 30-39

Typical reasons for unevenness include an unstable fifth finger of the left hand or improper finger shape. These fundamental issues must be corrected. Listen carefully to ensure note evenness.

Measures 40-42 present a brilliant cadenza. While a slight pause may be taken, the descending passage in measure 41 should accelerate rapidly. Measures 42-55 express great joy.

From measure 56, the tempo slows slightly again, entering a world of fantasy at pp. The brilliant cadenza from measure 68 culminates at measure 72 (the final measure). Apply a broadening effect and perform it with grand expression.

Personally, I believe this piece could be played with a slightly toccata-like character. Clearly differentiate between the lyrical sections and the forward-moving passages, and utilize a wide range of timbres for each section.