Yes, that is the sarabande I refer to. It has some very stunning passages.
As for Rameau, part of your objection my be due to Trevor Pinnock rather than Rameau! Trevor Pinnock's ornaments are always extravagant, and it is a sign of virtuosity. You may have explored some of the other tracks too and found them more agreeable. But many harpsichordists would make many of those trills shorter. The quality of the MP3 may also be involved. But I'm sure we agree that underneath the ornaments there are some gorgeous harmonies.
And of course Chambonnieres is great; his style is always down to earth, simple yet deep, and full of rhythmic drive. As for the
style brise, I was saving a proper explanation of what exactly it is for the next lesson. I left that a bit unclear.
Just keep in mind that it takes a very solid grasp of texture to work with. Like you I am more versed in counterpoint than texture, so I have had lots of trouble working with the
brise style. But it is one of the most idiomatic techniques in harpsichord music and thus really ought to be studied.
I may just have enough time tomorrow to post that next lesson before you leave... but don't count on it; I need to work on a sonata. If I do not post that lesson, then yes, I think the most important task ahead of you is analysis, analysis of not only harmony but melody and texture and rhythm too. And also try emulating some of the textures. You can even copy the rhythms note for note and use your own harmonies. Just a few bars of different styles and some of your own textural experiments. Most importantly watch for why the composers' textures work so well; that is in fact the purpose of such exercises, since in your real music you will not be copying textures.
And I also thank you for being interested in these musics! You have done a good job of understanding the styles and harmonies I've taught. It will be a difficult journey, ascending Parnassus, but it is for everyone.