It seems undeniable that Bach conceived this Sarabande with the organ in mind. The bass line, starting from measure 1, is sustained with a tie until the end of measure 7, without any break. This is hardly conceivable on the harpsichord, and even on a modern piano, it presents difficulties.

Even if string instruments were in mind, playing it on the harpsichord would still be impractical. However, not only in measures 1-7, but also in the bass of measures 17-19, the soprano of measures 13-16, and likewise the soprano of measures 21-22, the piece is written using the compositional technique known as pedal point or organ point.

While a pedal point spanning a few measures might be acceptable, a note sustained for as long as seven measures, like the bass in measures 1-7, tends to lose its audible function as the measures progress.

Therefore, I propose that you try re-striking the bass note, for example, in measures 3, 5, and 7. Although it is tied, re-striking it will allow you to perceive the sustain of G. For other passages, try re-striking the notes in the same manner as needed.