Rather than offering performance tips, it might be more illustrative to highlight common pitfalls in performing this fugue. This is a long fugue, spanning 153 measures, and sixteenth notes are almost continuous throughout the piece. Even if there are breaks, they are typically no more than a single sixteenth rest. In other words, the entire piece is filled with sixteenth notes. Playing such a large number of sixteenth notes for 153 measures within a narrow register tends to result in a very flat dynamic range. If, in addition to flat dynamics, there's a lack of discernible peak points or cadences, the flatness becomes even more pronounced.

There are two crucial challenges to address as solutions:

• One is tone quality and volume. This involves utilizing a wide range of tone qualities and volumes, from light-touch sounds at pp to sharp-touch sounds at f.
• The second is to always maintain a sense of direction. In this fugue, there are sections where chords appear consecutively. Examples include the left hand in measures 67-73 and the right hand in measure 101. If these chords, and indeed the entire piece, lack a sense of direction—if they are merely struck repeatedly—the music becomes incredibly dull and monotonous.

For instance, regarding the right-hand chords from beat 4 of measure 41 to beat 3 of measure 42, applying a crescendo towards beat 3 of measure 42 creates a sense of direction. Similarly, in the sequence at measure 50, even though it's descending, the left hand moves progressively lower, so applying a crescendo to reach measure 52 would be effective. These are just a few examples, but by consistently maintaining a sense of direction and employing a diverse range of timbres and volumes, the performer can achieve an excellent rendition.