This is a rather eerie gigue. In addition to chromatic progression, the harmony is difficult to imagine, for example, in the first three measures, where there is only a sustained E (pedal point). How to interpret the musical character of this gigue is left to the performer, but in any case, the important thing in this gigue is to give it a sense of direction.

When considering the first four measures as the theme, although there is an octave leap in the second measure, it descends chromatically. However, when observing the theme in measure 49, it ascends instead.

For example, whether the theme ascends or descends, the pressure increases, so a crescendo should be applied. If the theme is determined to be four measures long, a sense of direction towards the fourth measure is desired.

Proceeding in this manner, even though the sequence in measures 9-11 is descending, the volume should be increased.

What has been stated so far is merely an example. A descending theme can be played with a diminuendo, and a descending sequence can also be played with a diminuendo.

Many possibilities can be considered, but the important thing is to strive to ensure that the performance does not become dynamically flat, and to play with a sense of direction and a certain amount of pressure (though this does not mean the tempo should gradually accelerate).