Johann Sebastian Bach's works, known today as cello suites, intonate a polyphony that arises from the virtuosity of an instrumentalist - a complex play of intimation and execution, of foreground and background, reverberation and reverberation, hatching and large arches. And instructions for musicians whose redemption is not uncommon for them. The circumstances surrounding the creation of BWV 1007 - 1012 are hardly known, which means that there is an uncertain source at the beginning. It makes an authentic interpretation of the musical text impossible from the outset, and the right to be true to text cannot be maintained either: there is no autograph handwriting of the suites, which opens up a spectrum of new works, which above all harbors chances and suggests that the Suites have not necessarily been written for a specific instrument. The attraction for instrumentalists lies in balancing intention and interpretation. The renowned flutist Paul Meisen has pointed out the surprisingly natural playability of the cello suites by the flute. His former master class student Sabine Kittel, now solo flutist at the Saxon State Orchestra in Dresden, shows this potential here in a comprehensive way. The double album recorded in the Emmauskirche Dresden-Kaditz and the Jakobuskirche Freital-Pesterwitz is supplemented by the Partita in A minor BWV 1013.