The Bourrée is a fast-tempo French dance.  

The tempo marking for this piece varies by edition. Some editions indicate Allegretto, while others indicate Allegro. Dynamic markings also differ. It is acceptable to interpret these broadly.  

Measures 1-8 are simply divided into two four-measure sections. What was interesting is that while the first phrase, measures 1-4, ends with a perfect cadence at measure 4, the second phrase, measures 5-8, ends with an imperfect cadence at measure 8. Ending with an imperfect cadence makes one want to hear what comes next. In other words, it doesn't feel like it concludes there.  

In any case, measures 1-4 and 5-8 differ only in their final measure. For both phrases, the dynamics are most intense at the first measure (measure 1 and measure 5 respectively), and then gradually decrease in volume, controlled towards the end of the phrase. Please also adhere strictly to the articulation.  

Measures 13-16 are also almost the same phrase as measures 1-4, meaning that the entirely different phrase is measures 9-12. Let's play this with a different timbre. Then, you reach F-sharp in measure 12, which is likely the peak point of this piece. Let's set this note as the goal and determine the direction accordingly.  

For measures 13-16, I believe it is acceptable to slightly broaden (slow down) the tempo for the final measures, 15-16, before concluding. There is something else interesting here. Although measure 16 also ends with a perfect cadence, it has the highest number of notes, which led me to consider whether it might be better to end with a relatively strong dynamic.  

The reason is that while the cadential figures in measures 1-4 and 5-8 descend scalewise as B-A-G-F#, the cadential figure in measures 13-16 changes to G-F#-E-D#, giving a more majestic sense of conclusion.