This prelude is fundamentally in three voices. While the sixteenth notes constitute the theme (subject) and present no particular difficulty, the challenge lies in the execution of the eighth and quarter notes. When sixteenth notes are present in one voice, the other two voices consist of eighth notes or quarter notes (or both), making it exceptionally difficult to maintain the independence of these non-thematic voices.

For instance, in measure 1, the theme appears in the treble clef. Concurrently, the left hand plays the tenor (or alto) and bass voices, which alternate between downbeats and upbeats, leading to a potential confusion of voice parts.

Taking measure 1 as an example, the tenor voice comprises F#, E, A, A, G#, while the bass voice consists of D, C#, B, E. Consequently, these two voices must be performed distinctly as separate parts.

Numerous such passages exist throughout the piece, necessitating continuous interpretive ingenuity.

From this point, the following is the author's personal interpretation: the peak point of this prelude might be measure 10, where the bass theme enters. If this interpretation is accepted, the ascending sequence starting from measure 8 should commence p (piano).

Following this, as the highest note, B, appears in the treble clef in measure 5 and subsequently descends, a crescendo should be executed up to measure 5, followed by a diminuendo from measure 5, concluding with p at measure 8.

The fermata indicated in measure 15 carries significant meaning; therefore, a pause should be observed on the first beat before proceeding.