This prelude is of such a grand scale that it is no exaggeration to call it a culmination of Bach's work, filled with various emotional dramas. It is presumed that this prelude is more suitable for performance on the organ, as it features many notes of long duration, such as half notes and whole notes, written in the bass and tenor lower voices, often connected by ties.

The modulations extend not only to relative keys but also to distant keys. Consequently, the sense of scale is very grand, and therefore, a leisurely tempo, rather than a rapid one, is appropriate. When the 32nd notes appearing on the third beat of the first measure are played, the tempo should not convey a sense of impatience.

Numerous chromatic progressions can be observed in this prelude. For instance, if you examine the soprano line starting from the fourth beat of measure 18, you will notice a descending chromatic passage. Chromaticism in this era was a remarkably novel trend, often conveying a convoluted world or expressing emotions of sadness and hardship. Therefore, when considered comprehensively, despite being in C major, an exceptionally pure and innocent key, this prelude possesses drama and strong emotional depth. It is by no means a dance, nor is it light or a display of virtuosity; rather, it is a profound prelude where one can perceive a full range of emotions (joy, anger, sorrow, pleasure) within a slow, weighty flow.

Therefore, it should not be played at a very fast tempo, nor with the lightness that employs staccato, nor with the rigid precision of a metronome; instead, infuse a sense of lyricism within a calm demeanor.