This is a fast, Italian-type Courante. Regarding the interplay (performance technique) between the dotted rhythms and triplets, while I still have some reservations, the last note of the triplet should be played simultaneously with the sixteenth note.

This Courante is indeed very rhythmic and high in tension. In measure 1, the highest note is F in the right hand on beat 3, but in measure 2, it reaches G. Although slightly deviating from a typical sequence, one might anticipate A in measure 3, but it actually skips A and reaches B. Similarly, for the bass notes, given B in measure 1 and G in measure 2, one might expect E-flat in measure 3, but it actually descends to D.

In measure 4, the music briefly settles with a descending sequence occurring on each beat. From measure 5, an ascending sequence in two-measure units begins, and from measure 10, a descending sequence in one-measure units leads to E, the lowest note so far. From measure 13, a one-measure unit sequence resumes, leading to measure 16, which is one of the most high-tension sections in this first half.

From that point, previously absent descending left-hand arpeggios continue in succession, and from measure 23, the accompaniment pattern shifts to a dotted rhythm, concluding the first half. The first half temporarily modulates to F major but does not go to any other keys.

The second half similarly repeats the same sequences and modulates to G minor. Please analyze the second half in the same manner, referring to the analysis of the first half.

Through these analyses, grasp the mood of the piece, vary the dynamics using sequences, and aim for an enjoyable Courante. Personally, I believe the left-hand dotted rhythms could be slightly more prominent and perhaps marcato.