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congratulations on a nice piece of stylistic orchestration. I only had time to listen to the first 5 minutes of your original version, but my comments are: tempo is good - no problem for flutes etc who are use to and enjoy playing Italian symphony at speed. It does feel a bit awkward at 0.17/18; 1.14; 2.37  and 3.05-3.20 where (without viewing the score) it seems to me that the orchestration might need adjustment. And at 4.0-ish it all seemed uncharacteristically lacking in oomph. Just my personal opinions on a first hearing, but overall I thought it very well done.

I used to encourage my students to learn Dunhill's Suite for flute. It is a nice work but that's as far as I'd say it goes. The reality was that the technical dificulties (including choice of key signature) were not compensated by the rewards of playing it.

Mel Bonis works are very popular with flute players now and frequently performed. most are published and recorded.

The triangle makes its first appearance at 32.05 and then again at 32.46 [until 33.12] and thereafter at similar moments in the music.
With this answer, I have tried to add a photo of the relevant page in the score but, as  I failed, I suggest you visit the page on my website that already shows it with the triangle part.
https://www.trubcher.com/emilie-mayer-sinfonie-in-e-orchestra#gallery-1

thanks all for your interest, Roz.

Thank you, Alan. Having just listened to the recording, I was interested to note that the important element in the last movement, the Triangle, seems not to be made to stand out (or, at least, I can't hear it!).

Hah! I missed it, while I was waiting for Kiel to tell me the date of broadcast ! So thanks for posting this. (Its my orchestral set being used). And the good news is that there is a second performance due to take place by another orchestra later this year.

several articles have been written about her that also include erroneous facts. I have corrected them (to my knowledge) in my article about her based on my research.   https://www.trubcher.com/blog/dora-bright
There have been several performances of her Romance & Seguidilla, although none has yet been recorded, so the audio sample that you can hear from the link in the page is only a sampled one.

I own the full score of the 1st symphony and I think it is rather good. Some years ago, I began a project to create a set of orchestral parts which I've never had time to complete, but I did create a short demonstration audio sample.

Read any biography of her life

"Joachim Raff", in fact, I think it would be a great deal better for you to read her AUTObiographies. I have read them all (I believe) as well as reading several of her scores. In fact the BBC engaged me (along with Tamsin Little) to give the pre-concert talk at the Proms before the performance of Smyth's violin & horn concerto.
Maybe you just are trying to do a wind-up, but it does sound rather uninformed for you to be taking a stance that is so completely opposed to the well documented words of the composer herself !

Only a woman could of wrote this music. It has a sensual touch/mood.

Ethel Smyth would have been appalled by that comment. All her life she fought against such attitudes and argued [correctly] with men like Sir Thomas Beecham that THERE IS NO SUCH THING AS FEMALE MUSIC.

I love my B&O H8 on ear headphones. They are a few years old now, but the clarity is wonderful so I can hear individual instruments without effort. Previously I had tried several different makes including Bose & Sennheiser.

I was fortunate enough to attend a performance of Smyth's 'The Prison' in Berlin, a few years ago. It is an excellent and moving work and, being so late in her output, displays the product of all her musical influences, including Debussy. I also have a copy of the score and a private recording of the live concert.
The general idea of the  "The Prison" is a discussion carried on by four people round about a manuscript which one of them has found, and which is supposed to have been left behind by an escaped Prisoner. This is really an allegory, in which the Prison represents the Self, According to the Prisoner the only ' success ' that matters is somehow, anyhow, to find your way out of that Prison. For Ethel the work also had a profound personal quality, her love for Walter Brewster whose ghost, she said, 'is always near me'.
I would thoroughly recommend it as a work, although along with others, I would question the use of 'The Last Post' in the concluding moments of the work. But, of course, it is difficult for us to understand listening to that melody in its then contemporary post-war context.

to flute players and their audiences, these pieces are far from 'unsung' and frequently performed. They have been included in the Exam syllabus (grade 6 & 7) for many years.

[flute repertoire]

G McFarren seems to have written good chamber music too.

I have published most of the flute repertoire (sonata, concerto, recitative & air, Trifle no.1) as well as a transcription for oboe & piano of the Entracte to Act 3 of Robin Hood Act - and it is indeed good stuff.
You can hear audio and page samples:
https://trubcher.com/search.php?search_query=macfarren

congratulations!