Although Elgar had already begun recording by 1914, Cowan, German , Mackenzie, and Stanford were all new to the recording horn, with only Elgar and German continuing to make recordings after the Great War. I have included a page from the HMV 1919 catalogue [see below] which advertised the records at £2 12s  with the album gratis. The collection appears to have been dropped by 1920 or 1921 and thus never formed part of the numeric album series. I have also included extracts from Alan Kelly's  Discography of the 12" HO series which gives details of each recording session.

Elgar's Cockaigne has been well and truly truncated  the label has using the appellation 'Concert' to convey the cuts; Mackenzie's The Cricket on the Hearth Overture is likewise fairly chopped down however the other compositions are complete or fairly so. The odd sound you hear in the Mackenzie piece is the Cricket rubbing its legs! Although all the labels say 'Symphony Orchestra' the recording sheets have Cowen and Mackenzie conducting the Royal Albert Hall Orchestra. I have bundled all the recordings into one file of formidable size [see foot of this page].

Links to Wikipedia entries on  Frederick Hymen Cowen, Edward Elgar, Edward German, Alexander Campbell Mackenzie and Chales Villiers Stanford

Jean-Pierre RAMPAL
Orchestre de Chambre de la Sarre
Karl Risenpart conductor

Pergolese: Concerto in D Major for Flute and Orchestra [file size 27MB]
Pergolese: Concerto in G Major for Flute and Orchestra [file size 30MB]

Recorded: 1958 or before
Matrix:  EFM 42044-A-  &  EFM 42044-B-3 
Cat. No. ERATO: EFM 42044 
Format:  25cm (10inch); double-sided green & white label

Of the enormous number of recordings made by J.-P.Rampal I do not think this LP has ever been reissued although one side may have found its way onto a compellation in the late 1960s but I am not exactly sure of this.

It seems doubtful if these works are actually by Pergolese but they are certainly by somebody of his time.

Sir Henry Wood and New Queen's Hall Orchestra 

Wagner: Tannhauser Act I Venusberg Music
[File size 41 MB]

Recorded:  22nd November 1921.
Matrix: 76207-4 & 76206-5
Cat. No. Columbia L 1378
Format: 30cm (12inch); double sided blue label

This is the second issue of the of L 1378, the first issue of 1918 of  'Henry Wood and His Orchestra' contained the, matrixes 76207-2 & 76206-4, and was available from September 1920 to June 1922, the present disc was deleted in February 1928 probably in favor of the recently issued overture and Venusberg music by Willem Mengelberg and the Concertgebouw Orchestra on L 1770-1771. 

A better site for Henry Wood recording  is Damian's 78s  who has uploaded a very good selection from his recorded output. 

Adrian Boult, conducting The British Symphony Orchestra 

Scarlatti arr. by Tommasini: Le donne di buon umore [The Good-humoured Ladies]
[File size 40.9 MB]

Recorded: 5th & 16th November 1920 & 21st July 1921. 
Matrix: HO 4598-2af; HO 4617-2af; Cc 382-2 & HO 4598-2af
Cat. No. HMV D521 & D573
Format: 30cm (12inch); double sided, black label
Speed: 82; 81; 78 & 77.5rpm 
[unfortunately I do not have the score to hand but have believe the work begins and ends in G so have pitched it accordingly]

Not exactly the first piece of music to come to mind in association with Sir Adrian Boult even the recording of this piece was all a bit speculative or opportunistic one feels. 

Boult was employed to replace from Ernest Ansermet as one of the  conductors of the Diaghilev Russian Ballet at the Empire Theatre, London from October to December 1919  One of the ballet's Boult conducted for Diaghilev was Vincenzo Tommasini arrangement of Scarlatti sonatas into the ballet The Good-Humoured Ladies [Le donne de buon umore]. Tommasini arranged the music into a Suite in 1920 and it is this arraignment that I think Boult recorded but I am a bit unsure on this point. I can find only one instance, although there will have been others, of the Suite being performed by Boult with The British Symphony Orchestra on the 30th October 1921 which was reviewed by The Times the following day.

Boult was signed up by Fred Gaisberg of HMV at the end of 1920, the conductor recalled that  'We trekked down to Hayes one morning, and found ourselves in a studio so small that it would hardly have held a full-size billiard table besides the essential chairs and music stands and an enormous gramophone horn … Immediately in front of this sat the leader of the orchestra with his fiddle as near inside the mouth of the horn as he could hold it. He was surrounded by a few strings, but in those days, apparently, the low tones of the double-bass were an impossible proposition and the double bass part was in the hands of a gentleman with a tuba who puffed away in the furthest corner of the studio with remarkable results. I always longed to hear him operating the arpeggios in the last movement of Beethoven's No. 5 …' quoted by Michael Kennedy in Adrian Boult, Hamish Hamilton, London 1987 p. 77.

The British Symphony Orchestra was given a short notice in Musical Times for 1st October 1919. 

'This organization made a very auspicious first appearance at the Royal Albert Hall on September 2I. The words ' first appearance,' however, read oddly in connection with a band largely made up of players whose names are well known to London audiences, some of them as soloists. The ' British Symphony Orchestra' begins by claiming attention on the ground that all its members have served in the Army, mostly abroad, but it should soon take a prominent position on its musical merits. Mr. Raymond Roze conducted, and Mr. Tom Burke sang.' 

Among the cellists of the orchestra was ex-Lance Corporal John Barbirolli who may have been one of the 'few strings' mentioned above by Boult. Another series of People's Palace concerts  given under Boult's conductorship in the autumn of 1922  but proved to be failure and the orchestra was disbanded soon afterwards.

The recording was cut over three days in four? sessions This is what probably caused the speed differences between sides. Part 3 must have caused some trouble as the orchestra had to reconvene eight months after the first sessions and would accounts for the gap between catalogue numbers with D521 issued in March 1921 and D573 probably in September. 

'Discus' [has anyone pinned down who this was?] writing in Musical Times for 1st March 1921 reviewed the discs. 

An exceptionally good batch of H.M.V. records arrives just as this review is being closed. I have space now to mention only three. On a double- sided is Butterworth's 'Shropshire Lad' Rhapsody, played by the British Symphony Orchestra, conducted by Mr. Adrian C. Boult. Some of the pianissimo sections are barely audible, otherwise this is a very successful record. In violent contrast to its wistful strains is the Scarlatti-Tomasini [Tommasini is spelt on the record labels with one 'm'] 'Good-humoured Ladies,' a concert version of the popular ballet music, played by the British Symphony Orchestra under Mr. Boult. This example bears out what was said above as to the excellent results obtained from records of orchestral works in which the scoring makes liberal use of strings and wood- wind. The brass so plentifully used in most modern works rarely makes a good show. The trumpet loses its nobility, and suffers a sea-change into something neither rich nor strange-in fact, it comes down in the world, and joins hands with its humble brother of the toyshop, price one penny (pre-war). The lower brass often becomes no more than a vague snore. In 'The Good-humoured Ladies' the texture of both music and scoring is light, bright, and clear. I have not so far heard an orchestral record in which the scoring could be so easily followed. One could give a lesson in orchestration from such a record as this. Of the music itself, with its old-its old-world gaiety and charm, there is no need to speak. 

This review throws up an interesting question, had Discus all four parts/sides or just the sides 1 & 2, if the latter he must have been provided with an unissued take of side three although this would be highly unlikely. Other interesting snippets of information are that John Barbirolli may be one of the cellists in the recording and that the records were deleted in 1926 with the cull of great swathes of acoustic recordings.