In many cases this takes the form of a dialogue between voices and needs to performed in a way that will make the parts conversant. An awareness of thematic transformations is also important in a performance. Here, the subject is a downward stepwise, four-note line, and downward lines have a different character than their inversions, upward lines. Although this is a general performance characteristic, without a sensitivity to the boundaries of the subject it could not be affected properly. Up lines tend to be questioning, assertive, gathering energy, whereas down lines are answering, gentler, and relaxed.
Diminutions have the opposite effect.
All these transformations are related to S, and the way that they are related needs to be considered and effected in a performance. The implied dotted-half notes of S, occurring every four measures, can be slightly emphasized dynamically or by agogic accent, although this should be subtle. The rhythmic structure of S and its transformations is also an important performance parameter. The many diminutions of S begin off the beat and end on the beat. Since the pickups are more dynamic, more energetic, they should be slightly more emphasized than the goal note.