Later performances of the Nonet led to great critical acclaim for Farrenc, and the relationships that it fostered led her to write more music for wind instruments (a sextet for piano and wind, a flute trio, and a clarinet trio). She won a newly founded prize (the Prix Chartier) for chamber music composers twice in the 1860s. The success of the Nonet in later performances led critics to call for more performances of her symphonies by Paris’s major orchestras, but these seem not to have materialized. Farrenc’s legacy after her death was as one of France’s best composers of instrumental music. Although her works were rarely performed after the 1870s, she was consistently named among lists of women composers in Western history when writers began to pen feminist critiques of concert music culture – these began during her lifetime, as early as the 1850s, and emerged intermittently during the 1880s and up to the present day. Recordings of Farrenc’s music began to bring her to wider attention in the 1970s, and with reviews of these and of the increasingly common public concerts of her chamber music and symphonies, Louise Farrenc has entered the canon of historical women composers.