Although organ registration is a very complex subject, it is important that every organist has at least a basic understanding of it. This is necessary because not all organ pieces have registration hints printed in the performance edition. In this article, I’d like to give you two rules that will help you make informed decisions when choosing organ registry.

• Change the registry when structurally necessary. If there are no original register suggestions from the composer, I suggest changing the stops only in places that are structurally important. Think about the shape of the piece. For example, when playing an intro and fugue, it’s often okay to change register or at least manuals after an intro.
• However, some people change stops during the escape itself. Although there is no right or wrong decision here, consider whether or not the change in register emphasizes the structurally important parts of the piece. I think adding a stop just for the sound is not as strong as changing the stop when you see the need to do so (when the second subject comes in or at the beginning of a stretto section, etc.)
• Simplicity. When in doubt, keep it simple. It is always better to play a piece in one register than to overcomplicate things. In other words, if you feel that your prelude and fugue need changes in register because the sound of the main chorus is too harsh for your organ, it’s best not to bother with it unless you’re really sure of his decisions.

Very often we think that listeners cannot bear this sound for a long time, but actually what is more important is the music itself. A good composition will sound good with several different registration options. On the other hand, it is difficult to make a weak composition more convincing by changing the register (it takes a lot of experience). However, in some cases on certain historic organs, the record can be a tool perhaps as powerful as the music itself. This is why much of the old organ music can sound boring on a modern organ.

Another example: I know many organists who record Franck’s music in a very complicated way. They try to achieve the perfect dynamic and add stops every few sentences. This is obviously too much. For music like Franck’s, we still need to clarify the structure of the piece.

These are my personal suggestions for recording an organ composition. Of course, this is just a generalization and many variables have to be considered, such as the historical period, the national school, the type of organ music, the instrument available, and many other things.