Minuet II is merely Minuet I with the soprano and bass parts inverted. Here are a few suggestions. To make these two minuets interesting to listen to, left-right balance is one approach, but another is articulation.

For instance, if you play the soprano of Minuet I legato and the bass staccato (or vice versa). When you then move to Minuet II, playing with the same articulation as Minuet I will make it very clear. That is, if you play the soprano of Minuet I, G-A-B-A-D-G, legato, then in Minuet II, playing the corresponding bass part, G-A-B-A-D-G, legato will make the inversion even more distinct.

Minuet III has a completely different atmosphere, but for the initial 8 measures, bring the peak to measure 6. For the D major section in the middle, it is advisable to raise the overall tension higher than in G major. In this case, bring the peak to measure 14.