To take the well-known Praeludium in C (BuxWV 137) as an example, the beautiful engraving recalls the high quality of Barenreiter's collected editions.
With Beckmann, the manualiter pieces appear in the third volume, chronologically arranged by Buxtehude-Werke-Verzeichnis (BuxWV) number.
To conclude, a brief look at one of the pieces in my special-affection category, the Ciaccona in C Minor (BuxWV 159).
Lister takes only two substantial liberties with the musical text of BuxWV 271, one of Buxtehude's most attractive trio sonatas.
Linfield also provides a reasoned and thorough treatment of the works of questionable authorship, such as the Sonata in D Major for viola da gamba and continuo (BuxWV 268).
22-64 of the Sonata in A Minor, BuxWV 254, however, bears witness to Buxtehude's ability to combine idiomatic (and difficult) instrumental writing with often rigorous counterpoint.
The opening movement of the Sonata in B[flat] Major, BuxWV 255, is a prime example of Buxtehude's variations on a ground bass.
(How much they live on in the hands of Sunday morning organists through their Kalmus reprints is hard to say.) Albrecht has returned to a good number of them: in the opening ostinato figure of the famous Praeludium in G minor, BuxWV 149; in the closing passage of the Praeludium in D minor, BuxWV 140; in the touches of Neapolitan harmony in the middle of the Ciacona in C minor, BuxWV 159; and elsewhere.
The Toccata in D minor, BuxWV 155, is surely the most mangled survivor of this repertory: its only source is corrupt (almost) beyond saving.