Boely was a French musician, starting life as a pianist. He became organist late in life, being first appointed to a position at the age of 49. In 1840 he was appointed organist at St-Germain-l'Auxerrois, in Paris. Here he modified the organ to add a German style pedalboard and several stops allowing him to play the music of Bach. His style wasn't liked - it was too boring and old fashioned for his congregation, who expected operatic works, such as those by Lefubure-Wely. He was sacked in 1851 and died a lowly piano teacher. However, he was sought out by Franck and Saint-Saens to teach them.
Boely was heavily influenced by Bach. He played pieces by him every Sunday at home and supposedly the only picture in Boely's house was a portrait of Bach.
I was introduced to Boely's works by Daniel Roth (not personally!) but through his CD a couple of years ago. I was immediately hooked. I had no idea who he was but this music stood out from other mid-19th century French works. It was baroque in nature, at times bordering plagiarism of Bach.
These pieces are about as close to 'romantic' as you will get from Boely, yet they still retain a strong baroque flavour.
The positive uses two 8' stops with Nasard. The Voix Humaine and Clarinette of the Recit are coupled to the flutes of the Great. Tremolo is used, as the score indicates.