I'm not sure about this statement:
>>Besides, the piece in the F sharp minor version
>>requires a well-tempered organ, which for Buxtehude is in fact a bridge
From my recollection of Kerala Snyder, she concluded it was probable that Buxtehude had the Marienkirche organs retuned in some form of Werkmeister circulating temperment round about the late 1690s. Wouldn't that undercut the argument?