Bach's E major, recalling pieces like those in The Well-Tempered Clavier Book I or the French Suites, often features peaceful and joyful compositions, suggesting an optimistic key. This Prelude is no exception. Like other E major works, it is neither particularly dramatic nor overly emotional. Therefore, there is no need for an extremely fast or slow tempo; for example, a tempo between Moderato and Allegro would be appropriate.

The eighth notes should be articulated with a short, detached touch. Play them with a light staccato, ensuring the volume is never too harsh.

The most challenging aspect of this Prelude is the independence of the voices. The bass is relatively distant, so it doesn't require as much special attention, but the soprano and alto are quite close in proximity, and the author wishes for them to be clearly differentiated.

For instance, at the beginning, it might tend to sound like B C# G# A C# B A B A G# F#. However, in reality, the soprano proceeds as B C#... B A G# B..., while the alto follows the same melodic shape as G# A... A G# F# E.... Please perform with such clear voice separation. Generally, playing the soprano brilliantly and the alto more subdued will help achieve voice separation. From this point onward, pay close attention to the soprano and alto, ensuring they do not blend together.