A glance at the notation easily reveals that this is a fast-tempo piece. If played too slowly, it sounds heavy; therefore, one should first set a fast tempo that allows the 32nd notes to sound fluent. Furthermore, lightness should be expressed using staccato. Up to this point, many would agree. However, the problem with this prelude lies in the cadenza starting from measure 11.

From measure 11, it is a cadenza-like section where the solo instrument freely displays its virtuosity. However, quite a few performers play this section with metronomic precision. Of course, one must understand where the first and second beats are, and that the rhythm involves eight 32nd notes per beat. But once the rhythm and timing are grasped, try playing it with a bit more improvisation. This is a key hint for performing this prelude.

For example, in measure 11, between beats 2 and 3, a weighty chord resonates. Consider this as an orchestral tutti or many pipes of a pipe organ sounding, and thus, the rhythm here should be relatively precise; however, the 32nd notes starting from beat 4 should be thought of as a solo instrument. From beat 4 to beat 1 of measure 13, only 32nd notes are present. Instead of playing these with computer-like precision, we desire a sense of improvisation, for instance, starting slightly slower and gradually accelerating the tempo.

Proceeding too precisely would not be characteristic of a cadenza. Try playing freely, as the performer feels. In other words, from measure 11 to measure 20, you may consider it a section where anything goes, played as you wish.