This prelude reminds one of the Italian Concerto, which is also written in F major.

It might be beneficial to approach this prelude with the concept of a concerto in mind. Although primarily written in two to three voices, this prelude occasionally incorporates blocks of chords. For instance, from the upbeat of the third beat of measure 1, three chords appear in the right hand. This exemplifies the concerto idea: an ensemble of many instruments playing, followed by the soloist performing a solo passage.

Consequently, in sections where three chords appear consecutively, the volume should be increased. This applies even when the key changes to minor, as in measure 8, where the volume should similarly be increased. Furthermore, in sections with chords, not only the chords themselves but also the other voices sounding concurrently with the chords should be played with greater volume.

Strive to express the interesting interplay between the soloist and the tutti in such passages.

Another point to pay attention to in this prelude is the independence of voices. One method to achieve this is through inventive articulation. For example, in measure 4, playing the left-hand eighth notes staccato and the right-hand inner voice legato can make the voices sound independent. Furthermore, by making the soprano voice clearer than the alto and subduing the alto, the voices become even more independent.

Similarly, be mindful of voice blending in measures 6-7, measure 15, and measures 23-24.