For the first eight measures, with the exception of the perfect cadence on the G minor tonic chord in measure 8, other G minor tonic chords do not convey a sense of repose, either because they are in inversion or because the tonic is not in the soprano. Therefore, this Gigue should proceed restlessly and at a fast tempo.

The middle section modulates to B-flat major, and it is here that a sense of calm first emerges. In particular, the sixteenth notes of the descending sequence starting from measure 15 may be played elegantly, softly, lightly, and with a singing quality.

At measure 20, the music returns to G minor, and the same theme as the opening 8 measures is repeated. If this is analyzed as an A-B-A form, it makes sense to play A forte and B piano.

From here on, this is a subjective discussion, but the theme appears twice in measures 1-8 and 20-28. Playing these two occurrences of the theme exactly the same way would be an assertive performance approach.

On the other hand, it is also conceivable to play the theme, which is repeated twice in measures 1-4 and 5-8, differently. For example, an approach where the first time is played forte and the second time is played piano, like an echo, is possible. This allows for a sense of dynamic change akin to an ensemble, creating an image of a full sound the first time and a smaller ensemble the second time.

Both of these performance approaches are conceivable. However, if I may state my opinion, the G minor sections of this Gigue do not strike me as particularly subdued or calm, so I might play both occurrences forte.