Considering the left-hand accompaniment patterns and the figures employing a right-hand pedal point, I believe this Allemande can proceed with a certain degree of dynamism. If one agrees with this approach, it is more reasonable to play the left-hand eighth notes basically staccato and short, rather than proceeding legato.

The piece should generally proceed optimistically, brightly, and calmly. In the latter half, it modulates to G minor and C minor, but even then, it never becomes overly serious. The piece proceeds in two or three voices.

When it becomes three voices, rather than proceeding polyphonically, it has functioned more as an added part of a chord (e.g., m. 16, right hand). However, upon reaching m. 17, it becomes a complete three-voice texture. This is due to the emergence of the tenor part in the left hand. As this is a very impressive and beautiful section, in this instance, prioritize the tenor and subdue the bass. This is because the bass is on the beat, and emphasizing it would mark the beat too strongly, causing the music to become vertically segmented. To avoid this, play while listening carefully to the tenor.