Meanwhile, I am stuck at home with sick DC and have been practicing like a loon 
I did about 3 hours yesterday and another 3 hours today (so far), mostly on Rameau's Courante that I linked to below. I'm pretty good on the first half now and the second half is coming along nicely, too.
There is that incredibly beautiful bit in the second half that seriously distracts me to the point that I can't concentrate on playing it. Which is weird, because it's not even that hard to play compared to the rest of the piece. It's almost like my brain wants to just listen to it rather than make sure that my fingers are playing it 
It's just an exquisite piece of music. I read a book on Rameau where it was praised thus:
Greatness less dramatic and more majestic is found in the A minor Courante. This piece is almost unknown; it is not included in any anthology and no writer every mentions it... Yet it is one of the summits of Rameau's art. No movement of his combines in such measure emotional force and cunning artistry. Its broad sweeps up and down the keyboard, its striding arpeggios, its contrasted rhythms, its pathetic progressions, its sequences, strike at the hearer's feelings, whilst its unfailing coherence satisfies his intelligence with a vision of grandiose oneness.
A mere analysis would lead one to believe it was a piece of cerebral note-spinning; yet with all its calculated construction it is emotional, obsessive, almost nerve-racking music... Some of these themes are exquisitely lyrical, as haunting as Dido's lament, and this union of rhythmical and harmonic roughness with expressive song is one of the secrets of this piece's charm.
The first half is mainly in the minor; the second passes almost at once into the relative major and remains there for a spell; this is the most splendid reach of its course. When it returns to A minor... the second half closes with the torturing sequences already heard at the end of the first.
This haughty though emotional piece does not admit one easily into its intimacy. Perhaps the chief obstacle lies in its rhythms... the scales must flow, or swing with the slow regularity of a pendulum; the arpeggios must stride; the dotted minims must sustain; all of which is obvious but not easy to carry off. Grace notes are less common than elsewhere and are for emphasis, equivalents of sforzandos on the piano. More than this it is not useful to say. The door has to be knocked on more than once before it will open, but of the riches within there is no doubt and the effort is worth while.