This is a long prelude, spanning 108 measures. The tempo is 2/2 time, or cut time, which at the time signified an extremely fast tempo. However, considering the ornaments including 32nd notes that appear midway, it becomes clear that performance would be difficult without a somewhat moderate tempo. In this case, the 2/2 time might rather strongly imply a lively tempo.

Performers should divide this prelude into several sections and group them accordingly. When one section ends and the next begins, it is effective to slightly hold back the tempo and play it as an exaggerated cadence. This also makes it easier for the listener to follow due to the segmentation.

This is not limited to this prelude, but there is a cadence called a deceptive cadence, known in Japanese as gishūshi (偽終止). If you have the Fugue in A-flat major from Book I of The Well-Tempered Clavier at hand, please open it. Here, the third beat of measure 33 is a deceptive cadence. Normally, it is expected for the dominant V to resolve to the tonic I, and listeners anticipate this. A deceptive cadence is when V moves to VI instead. This should inherently be emphasized, so the VI should be played loudly, yet there are countless performers who play this without any particular feeling.

In this prelude as well, deceptive cadences appear in measures 18 and 106. Instead of ending meekly, play them with a stronger volume than the preceding dominant.