The three Buxtehude d minor chorale variations in my Peters Edition (Buxtehude Vol III - Hermann Keller), marked '3 Strophen' are also published elsewhere, not only as three but also as four variations, under the title "Nimm von uns, Herr, Du treuer Gott" (BuxWv 207) . There are some minor differences between the scores -- a lovely reminder of the days when copies were written with a quill or pen and paper. It took me some time to unwind the confusion, but I've taken the liberty to also assign the Bux number to my Peters/Keller publication, although the differences should really have resulted in (a) and (b) versions of the composition.
The delectable precision of Buxtehude's flourishes astonishes; always expressing deep emotion, exquisite tenderness and spiritual vulnerability, more so than anyone else in his era. His mastery (1637–1707) bridges the post-Reformation protestant period of Jan Pieterszoon Sweelinck (1562-1621), Samuel Scheidt (1587-1654) - who also studied with Sweelinck - and the high Baroque of Bach's days (1685-1750). Those who argue that Buxtehude will forever stand in the shadow of Bach need to study their history: the 20-year old Bach himself becomes the student who walks 400kms (and again, for his return journey!) to hear & meet the master:
"It’s autumn 1705 in northern Germany. A young composer sets out from the city of Arnstadt to make the gruelling journey on foot to Lübeck, almost 400 km to the north. His reason? To hear some music by an organist – a 68-year-old organist, in fact, who is nearing the end of his career. But this isn’t just any organist, and the steadfast walker isn’t just any young composer."
What this story does not reveal is that Bach had hoped to engage (to marry) Buxtehude's daughter after his long walk. Alas, that never happened.
(the free "Custom Baroque Organ" sample set is surprisingly good!)