General Considerations

Regarding this fugue, I will explain points to consider and objectives to aim for. Firstly, this fugue is highly susceptible to muddiness when the pedal is used. To avoid pedal muddiness, pedal usage should be kept to a minimum. Be especially careful in passages featuring continuous sixteenth notes.

The Fugue Theme

The theme of this fugue commences on a specific note, ascends to the octave above, and subsequently descends slightly. As it reiterates an ascent of a fourth followed by a descent of a third, and then another ascent of a fourth followed by a descent of a third, it would be advisable to direct the musical line towards the note an octave higher, gradually increasing the dynamic level, and then decreasing it upon descent. This theme is actually dispersed in many places. Furthermore, numerous incomplete thematic statements also exist.

Theme Entry and Overlap

The first note of the theme consists of a single eighth note, followed by a rest equivalent to three eighth notes. However, a somewhat intricate situation arises. For example, pay attention to the bass theme starting from measure 4. It commences on A in the first beat of measure 4 and concludes on E, the initial bass note of measure 6. Although the natural inclination upon the theme's conclusion would be to diminish the sound, this E in measure 6 concurrently serves as the commencement of the subsequent theme (also in the bass). Given the desirability of clearly articulating the inception of every thematic statement, this presents a considerable dilemma.

Interpreting Theme Endings

If the theme were to be interpreted as beginning on the first beat of measure 1 and concluding with the final soprano D# in measure 2, the thematic articulation would certainly be simplified; however, an ending on D# also conveys a certain unnaturalness. The performer should exercise discretion in this regard and determine the precise extent of the theme.

Tempo

Regarding the tempo of this fugue, if the tempo is excessively rapid, the initial eighth note of the theme tends to become shortened, akin to a staccato. While this constitutes a matter of the author's personal preference, the desire is for the initial note of the theme to possess a slight tenuto quality; thus, an overly fast tempo is to be avoided.