This prelude allows for a wide variety of interpretations, but the most challenging aspect of this prelude is the "Adagio" marking, which even includes a metronome marking. Incidentally, the edition this author uses indicates a quarter note at 48. It is uncertain whether this marking was written by the composer himself.

In fact, playing it at an Andante or Moderato tempo reveals that it can be performed quite easily. However, since it is marked Adagio, the tempo must be significantly reduced.

Phrases consistently unfold in two-measure units. Within these two-measure units, the transition from the first to the second measure is often considered the peak point. Therefore, the directionality is conceived as focusing on the first beat of measure 2, the first beat of measure 4, and so on. The first beat of measure 5, where the pitch reaches a high point, is not considered a peak point by this author; rather, it is regarded as the beginning of a phrase and volumetrically weak.

While I stated that "the transition from the first to the second measure is often the peak point," for instance, the chord on the first beat of measure 4 is considered by this author to be a resolution of the tension from the two chords in measure 3, and thus should not be played strongly. Such flexibility, adapting to specific locations within the music, is also required.

From measure 9 onwards, the music becomes very emotional, and it is advisable to play it with a slightly agitato character. A slightly more forward-moving tempo would also be acceptable.

Regarding this prelude, this author has one unique perspective. This concerns the use of the pedal. While many performance videos utilize the pedal extensively, this author minimizes pedal use during performance to avoid blurring the left-hand notes. The sole purpose of the pedal is to seamlessly connect the chords in the right hand.

Towards the end of the piece, from measure 16, the lowest C sounds as a pedal point; even then, the key is to avoid blurring the sound with the pedal, playing as if instruments like cellos were performing.