Learners studying this Prelude are strongly encouraged to listen to Lyadov's Op. 39, No. 4. The two works share significant stylistic and characterological similarities.

Performance Considerations

• The first is to ensure the sufficient prominence of the top voice in chords. Due to the rapid movement of both hands, often in lower registers, the sound can easily become indistinct with pedal, or the melody can be obscured by the octave bass. The melodic line must always be clear, with careful consideration given to its balance with the left hand.
• The second is to grasp the formal structure. For example, in a fast triple-meter piece, instead of counting each beat (1-2-3, 1-2-3), one should conceive of a 4-measure unit as a single phrase, as if performing four beats, each subdivided into triplets. This approach is highly applicable to this Prelude. Observe the phrasing in 4-measure units from the very beginning; its remarkable consistency will become apparent.

Now, examine the final four measures. Consider why Lyadov did not include a fermata on a single chord, why there are no 'rit.' indications, and why, despite a 'stringendo' from measure 39, he marks 'a tempo' at measure 43. If a performer were to count the initial four measures as if in quadruple meter, then the same principle should be applied to the final four measures. Therefore, regardless of whether one counts in groups of three (1-2-3, 1-2-3, etc.) or in groups of four (1-2-3-4), the counting must absolutely not cease until the very end. The final chord, tied for four measures, should be understood as conceived with a highly 'conductive' intent: upon playing the chord, one counts four beats to conclude the piece. Consequently, the performance of the final section should conclude precisely, counting exactly four beats, without any 'rit.' or other modifications, akin to a metronome.