Here are some tips for performing this prelude.

1. Isolate the Melody Line

There is always a counter-melody a tenth below the main melody line. Perhaps because it is played by the left-hand thumb, this counter-melody and the main melody (melody line) tend to be at the same volume. By playing the melody line distinctly and the counter-melody with a blurred, pp tone, the melody line becomes a clear vocal line, maintaining a beautiful balance. This should be your primary focus.

2. Treat the Melody Line as a Vocal Part

Treat it as cantabile. For instance, in measure 5, when leaping from D# on beat 1 to A# on beat 2, a pianist can execute this quickly. However, singers take a certain amount of time to reach A#, so emulate this. Avoid rushing into high leaping notes. Alternatively, apply rubato and play freely. Since the accompaniment is filled with continuous sound, there is a tendency to rush forward without stopping. However, feel free to take time where desired, even in sections not marked rit. This will result in a more natural shape for the vocal line.

3. Creative Use of the Pedal

While one should avoid blurring two different chords by continuously holding the pedal, for example, in measures 10-11, where the music fades away like a dream, one can use the soft pedal, or intentionally create a slight blur by holding the pedal, thereby creating a hazy space. Upon reaching the peak in measure 18, I believe it is possible to continue holding the pedal and play through measures 19-20.