This is an optimistic and lively Allemande. When playing the cadence (final form) in measure 7, a tempo that avoids dragging is desirable; this can be resolved by increasing the overall tempo.

In the first half, the highest note A in measure 4 can be considered a peak point. In measures 5-7, despite the absence of C-sharp, one gets the impression of a modulation to D major. This is characteristic of Handel's ingenious writing.

In the second half, it modulates to E minor, reaching an E minor cadence in measure 11. While this varies by edition, the D in the left hand on the second beat of measure 10 (marked as D natural in the author's score) is sometimes played as D-sharp. Considering the overall context, D-sharp, as the leading tone of E minor, feels more fitting.

I believe this E minor section in the second half is where the tension builds most effectively. Therefore, the highest note C in measure 10 can also be considered a peak point.