This fugue, composed with an ensemble in mind, primarily requires clear dynamic differentiation between sections with denser and sparser textures. Bach himself notated forte and piano in the score, so at the very least, these must exhibit distinct differences in volume.

Given that the register (range) is not particularly wide, dynamic differentiation becomes even more crucial. Beyond that, one should be mindful of the theme and tonality, varying the volume and timbre accordingly. However, the main issue is the tempo.

It is generally accepted that duple meters of this period were quite fast. For instance, a quarter note tempo of around 120 bpm would be appropriate. A faster tempo creates a more energetic sound and makes the piece more comprehensible.

Since 32nd notes appear towards the end, it is permissible to slightly relax the tempo for the final ten measures and play the cadenza improvisationally. Furthermore, as it concludes with a Picardy third, please end slowly and dramatically.