Overall, as the piece progresses towards the latter half, the quantity of 16th notes increases, and the harmonic texture thickens. Therefore, the general dynamic flow should start piano and build towards a forte ending.

The writing of this fugue is instrumental. The repeated notes at the beginning should be considered as a 'sustained note' or 'pedal point'. Repeated notes on the piano can often sound harsh, so pay close attention to the volume and avoid repeating the same note at a loud dynamic.

Articulation can be freely experimented with. For example, for patterns like the one in measure 1, beat 4, you could play the first two notes legato, cut off the D with a staccato, and also play the following G staccato; alternatively, you could play the second and third notes legato and the first note staccato. Or, playing all notes staccato is also acceptable. Experiment with various options.

The theme (subject) starting from measure 16, beat 3, is an inversion, but it can still be considered a theme.

It is likely that the bass theme starting from measure 31 is the most tension-filled theme in this fugue. Do not hesitate to play it with full volume.

The final chord in measure 34, beat 2, is a shocking chord, but this chord should be savored. By slowing down the tempo considerably towards the end, you can allow this chord to resonate. Please try it.