Regarding the tempo of this fugue, there are various perspectives. While there should be much discussion regarding its compound meter, chromatic progression, and the 16th note being the basic note, it is generally often played at a relatively fast tempo. Ultimately, the tempo of this fugue can be left to the performer, who should choose a tempo they deem appropriate.

The difficulty of this fugue lies in the fact that the theme is written in 16th notes, which are the shortest note values. Because it is written in 16th notes, attempting to bring out the theme inevitably results in the shorter note values having greater volume, thereby obscuring notes of longer duration.

Therefore, to state the conclusion first, the piece becomes very clear if notes of longer duration—such as dotted eighth notes, quarter notes, and dotted quarter notes in this piece—are emphasized more, while the volume of the 16th notes is restrained. And in sections where these longer note values are absent, it would be good to bring out the theme.

Let's give an example. For instance, from around measure 8, all voices take on a descending shape, descending to the soprano A in measure 13. From there, a sequence is followed, and then an ascent begins. While tension increases with the ascent, at measure 16, the theme beginning on C# in the soprano should be brought out strongly (even if suddenly). At this point, there are no notes of longer duration in measure 16, so in such sections, bringing out the theme prominently is not an issue.

However, if the alto brings out the theme starting on C# in measure 66, for example, the soprano's chromatic progression will be obscured. In such places, by restraining the theme and clearly articulating the notes of longer duration, the balance of the piece is maintained, and the music becomes clearer.