Joachim took part, did she demand and receive equal pay. Besides her teaching and performing career, she also produced and edited an influential book, Le Trésor des pianistes, about early music performance style, and was twice awarded the of the Académie des Beaux-Arts, in 1861 and 1869. Farrenc died in Paris. Music At first, during the 1820s and 1830s, she composed exclusively for the piano. Several of these pieces drew high praise from critics, including Robert Schumann. In the 1830s, she tried her hand at larger compositions for both chamber ensemble and orchestra. It was during the 1840s that much of her chamber music was written. While the great bulk of Farrenc's compositions were for the piano alone, her chamber music is generally regarded as her best work. Throughout her life, chamber music remained of great interest. She wrote works for various combinations of winds and or strings and piano. These include two piano quintets, Opp. 30 and 31; a sextet for piano and winds, Op. 40, which later appeared in an arrangement for piano quintet; two piano trios, Opp. 33 and 34; the nonet for winds and strings, Op. 38; a trio for clarinet (or violin), cello, and piano, Op. 44; a trio for flute (or violin), cello, and piano, Op. 45; and several instrumental sonatas (a string quartet sometimes attributed to her is regarded by specialists as the work of another composer, not yet identified). In addition to chamber music and works for solo piano, she wrote two overtures and three symphonies. She heard her third symphony, Op. 36, performed at the Société des concerts du Conservatoire in 1849. The one area which is conspicuously missing from her output is opera, an important gap as opera was at the time the central musical form in France. Several sources indicate that she was also ambitious in that field, but did not succeed in being given a libretto to set to music by the Théâtre de l'Opéra or the Théâtre de l'Opéra-Comique, for reasons still to be discovered. Legacy François-Joseph Fétis, a leading Francophone 19th-century music biographer and critic, wrote in the 2nd edition of his Biographie universelle des musiciens (1862) of Louise Farrenc as follows: For several decades after Farrenc's death, her reputation as a performer survived and her name continued to appear in such books as Antoine François Marmontel’s Pianistes célèbres. Her nonet had achieved around 1850 some