With regard to your original query, it is almost pointless to suggest a list of stops for a particular work. It depends entirely on the disposition and stop-list of the instrument, the voicing of the stops, the acoustic ambiance of the building and the work(s) which are to be performed.
The best advice is to use your own ears and judgement - and, if at all possible, get someone else to play extracts at key points in the score, whilst you listen from a number of different places in the building. This will give you a better idea of how the instrument will sound to the listener. If the result is a fairly clear - and musical - sound, and one which appears to you to suit the piece, then this is probably right for that instrument.
A few months ago, our church received a visit from an organists' association, which I hosted. After talking about and demonstrating the instrument briefly, I then gave those who wished to play the freedom of the console. At this point, whilst I would normally have simply let them get on with it (unless they were playing too loudly all the time), I simply had to go up to the console whist one of their number was playing some Bach and suggest an alternative registration.
What he had done was to use so-called 'textbook registration' - always a bad idea. and worse, it was from a style of registration which was popular here in the 1960s (apparently). That is, for Bach, one should employ just one stop of each pitch, for the choruses, with un-coupled claviers and pedals. Given that the instrument over which I have custody is a large three-clavier 'Classical' instrument, with independent choruses on all claviers (up to a Cymbal III 29-33-36 on the Positive Organ) and has a Pedal Organ of seventeen stops (most of them independent), including a metal chorus up to four-rank Mixture, it might be thought that this was an ideal recipe.
However, in practice (since I know this instrument intimately), in our acoustic, and with comparatively low wind pressures, the resulting sound was thin and anything but clear. So I stopped him and completely changed his registration, adding a number of 8ft. foundation stops - and couplers. At first, he was horrified, but I persuaded him to play the piece again, on this registration. The result was an instant transformation for the better - and was acknowledged to be so by all those who were listening in the Nave.
I post this account, not for any other reason than to illustrate the folly of attempting to prescribe registrations on other instruments - particularly those of which we do not have first-hand experience.