I just played the melody line as if it were played on a bugle. I think it was the power and character of the individual stop that carried this off, though I quite appreciate that other instruments without a similar stop could create an equally effective sound. I just appreciated that the organ could take the place of a bugler and still add dignity at a very solemn moment. May be it helped that the organ had been tuned four days before and was in good voice!
Thanks Rehfeldt's videos are quite something.
Another organist I quite enjoy is Hans Andre Stamm who some of you may have seen videos of him playing the organ works of Bach on the Trost organ in Germany. One thing I didn't know until 2016 was that he also composes music a lot of which has a Celtic style.
The following seems to suggest that Gordon Grimes is a pseudonym for Gordon Hitchcock. I might be getting it wrong, though.
https://books.google.co.uk/books?id=NTIhAQAAIAAJ&dq=university carol book gordon grimes gordon hitchcock&pg=PA1514#v=onepage&q=university carol book gordon grimes gordon hitchcock&f=false
In the event, a young lady trumpet student was engaged to play the Last Post and the Rouse, although the 2 minute silence was truncated to about 40s. (Timing is always precarious at these events; the length of the hymn and the names of the fallen in 2 world wars and subsequent conflicts being relatively few in number from the village, all conspired to leave us 6 minutes short of 11a.m - so another 2 minutes could have felt like overdoing it.)
I was filling in, it is an instrument with peculiarities, and it was a short-notice thing, so I went for the possible rather than the ideal.
I began with Prelude in the Phrygian mode (Tallis) followed by Cantilena (Karl Jenkins).
After the last hymn I played a piano-reduction of Nimrod with additional pedals in the way we all do with hymns.
I'm glad I went prepared to play the bugle part on the organ if necessary! Even wearing a watch with a second hand - I wonder how others time the silence discreetly.