This prelude is played at many tempos and with various performance styles, but one thing I want you to pay attention to is that it is written in a compound meter. One difference between compound and simple meters is that compound meters have a characteristic of moving forward continuously without stopping the flow. Therefore, performance styles that cause the music to stop or lose the beat due to excessive rubato are not desirable.

In addition, I want you to pay attention to the right-hand accompaniment. The continuous chords on the off-beats signify moving forward without interrupting the flow. Of course, emphasize where necessary and apply tenuto where appropriate, but perform within a range that does not stop the music.

Furthermore, points to note are:

• 1. The frequent appearance of sequences, and their dynamic control. Be careful not to let the dynamics become flat.
• 2. Treat the secondary melodies with care. For example, at the anacrusis of the opening, the inner voice of the right hand descends chromatically. It is desirable to perform such parts so that they clearly reach the audience's ears. The left hand also requires attention. For instance, in measure 1, a secondary melody appears on the third beat. While this may be understandable, also be careful that the left hand in measures 1-2 does not become flat. In this prelude, the accompaniment is rather the inner voice chords of the right hand, and the left hand often has a melodic progression. Please pay attention to that as well.