When performing this prelude, there are primarily two crucial points to consider.

The first point concerns the tempo. If the tempo of this prelude becomes too slow, the entire piece will be compromised. The piece gains vitality with increased speed; a minimum tempo of quarter note = 155 is recommended.

The second point addresses the issue of the top voice in chords. This aspect may prove more challenging. In measures 5-10, 15-20, and 33-38, chords are present and marked forte or fortissimo. The melodic clarity of the top voice within these chords is highly susceptible to ambiguity. Even in professional performances, instances of unclear articulation have been observed. The melodic line must be articulated distinctly, ensuring its audibility to all listeners. To achieve balance, it is sometimes necessary to reduce the volume of the left hand or the non-melodic notes in the right hand. While acknowledging the inherent difficulty, diligent effort is encouraged.

Furthermore, within these sections, 32nd notes appear as ornamental figures. It is crucial that these 32nd notes are neither indistinct nor sluggish. The two 32nd notes and the subsequent chord should be executed as a unified unit, in a single, continuous gesture.

Curiously, many performances exhibit an unwarranted prolongation between measures 20 and 21. Proceed directly into measure 21 without any pause.