they are amazing... highly under rated and over looked

With IMSLP scores, you know that you have a public domain item, which I like; I use them for these fugues, and in general, whenever possible.
However, I do admit that the advantage of owning a bound edition is that you are not limited to the selections you have bothered to print off!
[Which encourages sight reading & exploration of new pieces.]

Regarding the fugues themselves,

The one which are double fugues, in three sections are:
Mode I, #12
Mode VI, #1
Mode VIII, #8
The first section and second section each have a different subject, while in the third section the two subjects are used simultaneously.

I also have a random liking for:
Mode VI, #3
Mode VII, #7
Mode VIII, #3
Mode VIII, #7
This is perhaps just because I have played them a couple of times, but they have stuck in my mind.

Another thought which I have had is to try to pick out the ones that have a subject which is motivically similar to a chant or hymn, e.g. Mode III, #1 is like the start of the psalm tone.
This is not necessarily a very applicable process, but I have managed to retain an association, for example, between Mode VI, #3 and "In dulci jubilo", and between Mode VIII, #7 and "At the Lamb's High Feast", because I once used these fugues as postludes after these respective hymns.

It is also interesting to note with these fugues the sort of sub-genre which could be made out of those which have fanfare-like subjects, e.g. Mode VI, #10, or Mode VIII, #6, as well as many others, to a greater or lesser extent.

Might I also recommend Pachelbel's Ricercare in C minor (p. 5 here), which is one that I usually leave in my binder, for "just in case".

Interesting that I have never run across these pieces before. Thanks.

Actually, I do like certain Bach pieces. I just don't like the way his works are sometimes played, and the unpleasant instruments they are played on.

Probably was, and in general, it is a true statement. I don't play much at all by him and find some of his works difficult to fit into a Catholic mass. However, even many Lutherans don't celebrate mass as was done in Bach's lifetime. And I thoroughly detest some of the American built reproductions of "authentic" Baroque organs. They are often awful.

I have some pieces from the Liturgical Year I play - I am getting ready to play one for a funeral next week that was requested by the family. I will play "Christ Lag In Todesbanden," and perhaps "Alle Menschen Mussen Sterban" if time permits. I suspect that some of the Neo-Baroque purists would not like the way I play them, but I don't care - I don't have to care what they think.

Anything by Casavant from the 1960s, a local instrument by Richards, Fowkes & Co which may or may not be representative of their overall work. It is the only one I have heard by them. Most of the supposed "Schnitger" clones I have heard I didn't like, which may not be Schnitger's fault.

I ran across something the other day that I thought true so I will quote, "He was good at destroying the popularity of the pipe organ in America by his narrow minded obsession with neo-Baroque organs." This was about E. Power Biggs and he did exactly that.

So in general, I like French instruments, either classical or romantic, American Classic instruments, and organs that are more "service" oriented and not built for one type of literature exclusively. Most of us don't play only one type of literature.

Well, there are those here who, I have heard...or not heard, play only the silent works of composers. They especially appreciate the songs.

Is the VRA at U of Texas at Austin pretty representative? I have heard recordings and it sounds really good.

I would suspect there are not many of that brand near East Tennessee. At least, I haven't heard of any.

That is 308 miles from Knoxville and is on the other side of Nashville near west Tennessee. Thanks for the information. The next time I am near there I will try to hear them.

He made great cannon.

http://youtu.be/MtZjROpBReM

If it doesn't sound like this, you're doing it wrong. I LOATHE having to do it for weddings >:-(

I have been using the IMSLP scores for Pachelbel for a while, but have recently purchased a few bound published editions. Still there are no pedal indications specifically on the fugues. Not being an organ scholar, did Pachelbel intend for use of pedal or not? Much of his music can be played with manuals only, but I'd like to know if that was his original intention. I know pedals were more prevalent in Northern organs, but not sure what type of organs Pachelbel had at his disposal. Certainly some of his music is notated on three staves and would require pedal, but much of it is only noted on two staves. Perhaps he was being intentionally flexible?

P.S. I also really enjoy playing Pachelbel's Toccatas (many of which only require a pedal point!)