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....medieval, renaissance, baroque, rococo, romanticism & classical adaptations... variations, transcriptions, interpretations, improvisations... & originals
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If you’re a person who genuinely enjoys spending time alone, you’ll recognize this scenario:

You’ve finally carved out some time for yourself, and you’ve been anticipating it for days. Finally, some “me time”—no work, family, or social obligations, and the luxury to spend your time however you please. Then you arrive at the appointed hour and settle into the quiet.

Only… it’s too quiet. The bright mood you had evaporates, and you suddenly feel unsettled. You start to get restless. Random thoughts and memories flash through your mind. Anxiety might arise, only to be replaced with sadness, or boredom, or loneliness. At this point, you’re tempted to abandon the whole enterprise and head back out into society, or at least grab your phone and distract yourself with social media. What is going on? If solitude is supposed to be so good for you, why does it often feel so bad?
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https://www.psychologytoday.com/us/blog/solitude-in-social-world/201909/solitude-medicine

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https://www.psychologytoday.com/us/blog/what-are-the-chances/202212/the-benefits-of-solitude

https://www.psychologytoday.com/au/blog/talking-apes/202108/the-downside-solitude

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...submerging in solitude...

GEORG PHILIPP TELEMANN - GERMAN BAROQUE

feeling baroque

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https://www.classicalwcrb.org/blog/2020-05-21/a-guide-to-the-many-bachs

https://www.bach-cantatas.com/Lib/Bach-Johann-Bernhard.htm

In the Baroque era the suite was more precisely defined, with the pieces unified by key, and consisting of dances usually preceded by a prelude or overture. The suite was also known as Suite de danses, Ordre (the term favored by François Couperin) or Partita. In the eighteenth century, the term ouverture or overture may refer to the entire suite, as it does with the orchestral suites of Bach. 
 History

Estienne du Tertre published suyttes de bransles in 1557, giving the first general use of the term "suite" 'suyttes' in music, although the usual form of the time was as pairs of dances. The first recognizable suite is Peuerl's Newe Padouan, Intrada, Dantz, and Galliarda of 1611, in which the four dances of the title appear repeatedly in ten suites. The Banchetto musicale by Johann Schein (1617) contains 20 sequences of five different dances.

The "classical" suite consisted of allemande, courante, sarabande, and gigue, in that order, and developed during the 17th century in France, the gigue appearing later than the others. Johann Jakob Froberger is usually credited with establishing the classical suite through his compositions in this form, which were widely published and copied, although this was largely due to his publishers standardizing the order; Froberger's original manuscripts have many different orderings of the movements, e.g. the gigue preceding the sarabande. The publisher's standardized order was, however, highly influential especially on the works of Bach.

Many later suites included other movements placed between sarabande and gigue. These optional movements were known as galanteries: common examples are the minuet, gavotte, passepied, and bourree. Often there would be two contrasting galanteries with the same name, e.g. Minuet I and II, to be played alternativement, meaning that the first dance is played again after the second, thus I, II, I.

The later addition of an overture to make up an "overture-suite" was extremely popular with German composers; Telemann claimed to have written over 200 overture-suites, J.S. Bach had his four orchestral suites along with other suites, and George Frideric Handel put his Water Music and Music for the Royal Fireworks in this form.

Handel wrote 22 keyboard suites; Bach produced multiple suites for lute, cello, violin, flute, and other instruments, as well as English suites, French suites and Partitas for keyboard. For Bach especially, the suite form was a base on which to spin more elaborate sequences. François Couperin's later suites often dispensed entirely with the standard dances and consisted entirely of character pieces with fanciful names.

By the 1750s, the suite had come to be seen as old-fashioned, superseded by the symphony and concerto, and few composers were still writing suites during that time. But since the 19th century composers have frequently arranged ballets, operas and other works into suites for concert performance. Arrangement into a suite can make the music more accessible and available to a wider audience, and has greatly helped popularize the music itself, such as in Tchaikovsky's suite from The Nutcracker, or Aaron Copland's suite from Appalachian Spring. Orchestral suites usually consist of one or more movements. An example of this could be Edvard Grieg's Peer Gynt 

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Baroque Orchestral Suites from Cousins Bach & Others

Mixed Baroque

Bach: Orchestral Suites for a Young Prince

Orchestral Suite No. 4 in D-Major, After BWV 1069: IV. Menuettes I & II

Orchestral Suite No. 4 in D-Major, After BWV 1069: III. Gavotte

Orchestral Suite No. 4 in D-Major, After BWV 1069: II. Bourrées I & II

Orchestral Suite No. 4 in D-Major, After BWV 1069: I. Ouverture

Orchestral Suite No. 4 in D-Major, After BWV 1069: V. Réjouissance

Ich seh euch faßt mit bttern thränen nach

05. Telemann "Ach Gott, wie beugt" TWV 1:1564 1. Aria "Ach Gott…"

De Arauxo: Libro de tientos

Cancion

with Jed Wentz (traverse), Igor Ruhadze (violin), Cassandra L. Luckhardt (viola da gamba) and Job ter Haar (violoncello) 

G. P. Telemann, 6e Quatuor in E minor, Modéré

Pas de bourrée

Ouverture-Suite in G Major, TWV 55:G4 "Les Nations anciens et modernes": III. Les Allemands anciens

Ouverture-Suite in G Major, TWV 55:G4 "Les Nations anciens et modernes": IV. Les Allemands modernes

Sopra Scarlatti (Cantate à voce sola di soprano di Domenico Scarlatti 1685 - 1757)

Sonata K. 32 / L. 423

Scarlatti: Sonates, Naples, 1685 (Alpha Collection)

Sonata in D Minor "Aria" Kk. 32

Tartini: Devil's Trill Sonata; Violin Concertos D12, D51, D80, & D115

Violin Concerto in C Major, D12

Handel: Water Musick - Telemann: Wassermusik

Water Musick, Suite No. 1 in F Major, HWV 348: VIII. [Andante]

Water Musick, Suite No. 1 in F Major, HWV 348: I. Overture - Adagio e staccato

Water Musick, Suite No. 1 in F Major, HWV 348: III. Andante

Water Musick, Suite No. 1 in F Major, HWV 348: II. [Allegro]

Water Musick, Suite No. 1 in F Major, HWV 348: IV. [Allegro]

Water Musick, Suite No. 1 in F Major, HWV 348: V. [Passepied]

Ouverture "Wassermusik" in C Major, TWV 55:C3: II. Sarabande. Die schlaffende Thetis

Scarlatti & Ligeti: Continuum

Sonata in D Minor, K. 32: Aria

"Friends of the Lute" 

Weiss, Ciaccona A-Dur

"Aure,fonti" by countertenor Dominique Corbiau, "Profano e Sacro", operatic and sacred arias from Alessandro Scarlatti with "La Cetra d'Orfeo" conducted by Michel Keustermans, Avanti Classic.

"Aure, Fonti", Alessandro Scarlatti, Dominique Corbiau, La Cetra d'Orfeo

Georg Philipp Telemann - Overture In F Minor, TWV 55 - F1(Collegium Instrumentale Brugense, 2006)

Ouverture "Wassermusik" in C Major, TWV 55:C3: II. Sarabande. Die schlaffende Thetis

Zefiro