Given the dynamic markings in the score, I consider this music to be akin to a concerto, with different orchestrations or groups of instruments of varying sizes interacting with each other.

Since the interest of this piece lies in its rhythmic complexity, the tempo should be consistently maintained without deviation, avoiding any unnecessary lingering or pauses until the end. For the purpose of clearly articulating the intricate rhythms, I do not use the pedal. Furthermore, the tempo should be set such that these fine rhythms are distinctly audible (if the tempo is too fast, the intricate rhythms become difficult to discern).

Now, these are the author's thoughts. It is uncertain whether Bach's division of a single melody between the left and right hands was solely for the purpose of making it easier to play. However, for instance, in places like measure 19, I, as the author, would differentiate the volume and timbre between the right and left hands to make it sound like two voices. For example, in measure 19, the first note in the right hand is A, written as an eighth note, and the rest occurs on the off-beat of the first beat; I believe it is acceptable for the A to sustain until then. This would, of course, overlap with the two 32nd notes and one 16th note in the left hand, but I believe this approach allows for a more polyphonic sound.

Similarly, for the second, third, and fourth beats, I would play the first note in the right hand sustained for the duration of an eighth note.