Although fundamentally in three voices, the upper two voices, excluding the bass, should be conceived as a duet. Ideally, both upper voices should be treated with equal dynamic levels. However, when performed on the piano, the voices tend to lose their independent audibility. Consequently, to ensure the independence of the voices, try to emphasize the soprano while keeping the alto subdued.

For example, in measure 13, instead of the melodic line being perceived as FADFCB, aim for it to sound like ADCB. This can be achieved by significantly reducing the alto's dynamic level to approximately pianissimo (pp) and playing the soprano clearly, which will enable ADCB to be distinctly heard.

In the first half, measures 1-4, this Sarabande reaches its highest note, F, and then modulates to a gentle F major, leading to a cadence. In the second half, it returns from F major to D minor. From measure 17, the texture becomes denser, so you may increase the dynamic level and play with a more substantial touch.