Georg recorded all movements of the 6 Cello Suites on this Youtube channel.
TO THE INTERPRETATION: I rely in this performance relying on the 4 surviving manuscripts of the time as published by Baerenreiter, and the ideas of Werner Icking, who modified his bowings considering Bach's original bowings in the violin sonatas and partitas [the original J.S.Bach manuscript of the cello suites has not been found yet].
In Anna Magdalena's manuscript the slurs are in bar 1 only note 3&4. This interesting bowing puts the second half of the bar in upbow, giving the repeat of the phrase less weight, a general Baroque practice. In bar 2 and 3 again are only 2 notes slurred, but this time note 2&3, a bit awkward, but creating naturally a softer dynamic. Only from bar 4 on she slurs the first 3 notes - creating naturally the final forte. All other sources, including the earlier one by Kellner shows consistently 3 slurred from bar 1 - 4 . It is likely that J.S. was not fully happy with the interpretation he was hearing and instructed Anna Magdalena to modify the bowings to bring out the harmony flow of the first 4 bars more musical. It is helpful to play through all manuscripts as written. They show hidden meanings.
It is worth to mention, that the Prelude should always convey a sense of freedom, and should not be played in a metronomically strict way.
(Note: the B instead of Bb in bar/measure 26 is correct. The first printed edition in 1824 got this note wrong. All pre 1800 manuscripts write clearly B. You can see the manuscripts on my webpage: http://www.georgcello.com/bachcellosu...
At the age of 11 this was the first piece I transcribed, from my fathers viola edition! For my birthday I had been given a LP of a cello suite with Enrico Mainardi and was very excited about the suites. For my next birthday I received Mainardi's edition of the Cello Suites. Incidentally I received 10 years later a scholarship to a masterclass with Enrico Mainardi, at Nideggen/Eifel in Germany in1973.