This fugue primarily proceeds in three voices. However, have you noticed that when looking at the entire score, approximately 90% of the time, two voices are written in the treble clef? This means that if these three voices are considered soprano, alto, and bass, the soprano and alto are almost always written within the treble clef, while only the bass is written in the bass clef, somewhat separated.

In other words, while it is easy to discern the bass, the upper two voices are quite close together, necessitating their independence. For instance, if this fugue is performed conventionally, treating all three voices with the same volume and timbre, it becomes so indistinct that it's difficult to comprehend, making it less audible as polyphonic music.

In any case, achieving "voice independence" is an essential task for this fugue.

To achieve this, first:

• Clearly present the theme so that it is discernible to all listeners.
• Clearly establish the priority of voices in sections other than the theme.
• Broaden the dynamic range.
• Aim for thorough voice independence (primarily within the treble clef).
• Perform with different timbres for each voice.

These are among the most crucial tasks. It is also necessary to determine peak points, etc., to prevent the overall volume from becoming monotonous.