Stretches in the left hand are a recurring problem in the Sarabande as well. Even though I’ve thinned out some chord voicings, there needs to be a certain amount of harmonic information present, such as the G7–9/B chord starting measure 3 (not shown here). I think that creating a coherent performance of the Sarabande movement is most easily done by following Strømdal’s suggestions for Baroque rhetoric, such as emphasising and prolonging the first and possibly the third beat of measures 1–3 and repeating the same trick in measures 6–8 (shown here with arrows). The ascending melody line in measure 9 also benefits from little breaths after the three first sixteenth-notes of each phrase (shown here, with fermatas). 

The same passage in rehearsal, exaggerating the desired effects:

Measures 31–32 are also greatly in need of simplification from the outset, and Strømdal points out that the whole top-line phrase needs emphasis on five eight notes in measure 31 (marked by arrows here); this makes the G7–9 arpeggio on the third beat of the bar lead to the upwards gesture in the next bar, left suspended mid-air on the minor seventh interval (marked by a fermata) that indicates a dominant chord before the final, conclusive phrase is released. Note also that in my arrangement, the bass line in measure 32 starts out in one octave and jumps down to the next octave mid-measure, a technically necessary simplification that prevents stepwise clarity.

In exaggerated rehearsal mode: