Regarding this Allemande, compared to other Allemandes in the French Suites, it is characterized by smaller note values and a frequent appearance of 32nd notes. Therefore, I believe the tempo can be slower compared to other Allemandes. Please choose a tempo that does not convey a sense of haste. The Allemande is fundamentally not a form that should convey busyness.  

While articulation is flexible, if one chooses an articulation that does not convey busyness, legato would be preferable to overly sharp staccato.  

Now, the biggest challenge in this Allemande lies in the independence of the right-hand voices. The right hand is written in two voices, but it is not entirely complete. The author is currently looking at the Henle edition, and for example, in the third beat of measure 3, only one voice is present. If the lower voice were resting, a quarter rest should ideally be written, but it is not. Such instances can be observed throughout the piece.  

Nevertheless, consider this as being written in two voices and aim for the independence of these two voices. For example, look at the right-hand part in measure 7. If this section were to sound like Fis Fis G A D Es C D A B G Fis G Es A C H C A, the very meaning of it being written in two voices would be lost. Please make the soprano voice (upper voice) sound like Fis G A D Es D B Es A C H C. Subsequently, aim for voice independence in all measures.  

Other advice includes:

• Understanding where the peak points of the piece are and giving it direction.
• Not forgetting to vary dynamics using sequences.
• Paying attention to prevent the piece from becoming monotonous.