This movement features many themes. However, there are two types: those used sequentially, and those where a new theme emerges after a cadence (final form). The latter is what should be emphasized now. Try to identify the cadences and divide the piece into several sections. Once you determine the dynamics based on this, a clear direction will emerge. Music that might sound somewhat flat on the harpsichord gains depth when performed on the piano. A performance that leverages the characteristics of the piano is desirable.

Example Dynamics

The following is an example of dynamics, for your reference.

For example, consider the section from the beginning to the first beat of measure 19 as one unit. First, between measures 1-3 and 4-6, the latter has higher tension, so differentiate the dynamics, playing measures 4-6 stronger than 1-3.

Reduce the volume once, starting from p in measure 7, and gradually increase the volume up to the cadence in measure 11, where a complete modulation to D major occurs, playing the first two beats of measure 11 forte to reach the cadence.

On the third beat of measure 11, immediately reduce the volume. Apply a crescendo during measures 12-13, as it is an ascending sequence, but suppress the volume in measures 14-15, as these are echo-like measures. Begin measure 16 p and apply a crescendo up to the chord on the first beat of measure 19, increasing the tension.