For the performance of this Sarabande, three pieces of advice are offered:

1. Emphasize the timbre of the soprano voice. Differentiate it from other voices, performing with a brilliant sound.
2. Regarding repeats: when repeating, it is imperative to differentiate between the first and second performances. Avoid playing them identically. For the second iteration, a distinction may be achieved by emphasizing the inner voices within certain "several measures"; in any case, some alteration should be introduced.
   While some recordings incorporate numerous ornaments in the second repeat, this is considered a valid approach. Although excessive addition of superfluous notes may be questionable, it is acceptable within the scope of trills or arpeggiated chords.
3. Concerning the overall directional arc: This Sarabande features two points where it reaches a peak. The first point is the A note on the first beat of measure 1; this should be played prominently. In the first half, although the dynamic level slightly increases at the soprano F in measure 6, the music generally diminishes from measure 1 to measure 8.
   The other peak is the soprano B (H in German notation) in measure 11; endeavor to make this measure (or this specific note) the most prominent and tension-filled within the entire Sarabande. While this does not imply a forte comparable to Liszt or Rachmaninoff, strive for a performance that unequivocally conveys this as a peak, employing not only dynamic variation but also nuanced timing and other expressive means.