The Nonet for Winds and Strings follows a four-movement “sonata cycle” design that had become standard in the Classical chamber music tradition by the 1840s: A sonata-form first movement in a fast tempo is followed by a slow movement and an upbeat Scherzo, then a sonata-form finale. Farrenc’s sonata forms demonstrate the influence of her teacher Anton Reicha, whose treatises provide a guide to the informed study of her works. Farrenc’s innovations include continuous development in these movements and colorful harmonic narratives that deviate from later “textbook” explanations of form. Her use of contrapuntal writing, learned variation techniques, and references to familiar pieces from the wind chamber repertoire (Septets by Beethoven and Hummel) demonstrate her compositional mastery. Throughout the Nonet, she writes expertly for the instruments and incorporates playful dialogue and brilliant-style writing for all nine players in every movement. The Nonet became her most popular work, in part, because it balances virtuosity with craftsmanship, and the fun interactions between friends within the ensemble create an atmosphere of learned play for listeners and performers alike.