When one thinks of Bach's G minor, one often recalls pieces that are not particularly optimistic in mood, but rather express seriousness or sadness. However, a certain dignity can also be felt within them, and they rarely convey a delicate impression.

Regarding this prelude, while it does not convey a sense of seriousness, it should be approached with an ensemble-like perspective. At times, many instruments sound (e.g., measures 3-4), while at other times, it becomes a solo-only part (e.g., measures 33-34).

Therefore, a wide dynamic range is essential. For instance, in measures 24-25, the right hand already has a seventh chord, and considering the number of notes, it would be appropriate for this section to be forte. From here, an ascending sequence begins in two-measure units, reaching its peak in measures 28-29.

Such passages are frequently observed, and precise dynamic distribution and control are necessary to provide direction.

Do not perceive the piece as a small entity; instead, envision it as a large ensemble, imagining it being performed by a large group of musicians, and exaggerate the dramatic presentation accordingly.