Prelude

This is an unusual prelude that contains both a prelude and a fugue section. Measures 1-32 are designated as the prelude, and measures 32-85 as the fugue. In the prelude, the primary focus should be on the independence of voices. The independence of the soprano and alto is particularly crucial. As seen in the treble clef section from measures 10-12, the soprano and alto engage in a close interplay. While it is desirable that the sustained quarter notes are not obscured by the opposing sixteenth notes, prioritize the soprano. By playing the alto more subtly, the voices will achieve independence. Strive to ensure that each of the three voices possesses a distinct timbre.

Fugue

The fugue is considered to be very optimistic and joyful. Occasionally, weighty chords emerge; regard these sections as peak points and endeavor to build momentum towards them. For instance, in measure 51, the bass is quite low and the right hand plays a weighty chord, making it natural to interpret such sections as forte. Identify the peak points within this fugue, build tension towards them, and subsequently craft a natural dynamic curve that gradually recedes from these peaks.