This prelude is clearly influenced by the French Overture and possesses a dignified character. Therefore, care should be taken to ensure that the dotted rhythms do not become too relaxed. The piece can also be interpreted as having a shadowy, dark, and sorrowful atmosphere. While some of Handel's pieces make it very difficult to achieve voice independence, this prelude allows for it. Aim for voice independence as much as possible. The peak point of this prelude is in measure 11, where there is an A in the soprano. A sense of direction leading up to that point is desired. Furthermore, this prelude should possess a certain degree of improvisatory character. Rather than proceeding with metronomic precision, it would be good to incorporate some improvisatory elements, allowing for rubato where appropriate. Especially in the last four measures, try playing freely and improvisationally, to the extent that bar lines feel unnecessary.