Although in a minor key, this fugue possesses beauty and lyricism. Chromatic progressions further enhance its beauty. While performers should certainly emphasize and project the theme (subject), it appears in many keys, so they should vary its color and dynamics each time, according to the situation.

The theme itself ascends by a second, reaches a peak, and then descends by a second (alto, measures 1-2).

This fugue has two peak points within the piece. The first is between measures 18 and 20. Before this, from measure 14, the theme appears in thirds, overlapping and presented as a sequence (in this case, a descending sequence, but a crescendo is appropriate). One should reach measure 18 without losing tension. Once this point is reached, from around measure 25, a diminuendo should be applied following the descending bass line, leading to a moment of calm.

The other peak point is between measures 43 and 44; ideally, one should conclude the piece from here to the final measure without losing tension. Compared to measure 18 mentioned earlier, the tension here feels somewhat less intense.