Of her many works, the Concertino, op. 107 for flute and piano has experienced an enduring popularity amongst flutists. This popularity is evident based on its inclusion in Schirmer’s Flute Music by French Composers collection, a volume that has been cemented in the canon for all performing flutists. In the 1990’s, an article was published which attributed a story of unrequited love to the piece. This story, though doubtful to its authenticity, has taken root and morphed the work into a sort of “coming of age” piece for flutists who play it. This unfortunately has become a part of Chaminade’s biography when performed, despite little evidence she intended the work to be perceived in this way. In my analysis of the Concertino, I examine the ways in which Chaminade manipulates the form of a rondo to create a work that is musically effective and expressively rich. I will argue that a tonal problem created by the juxtaposition of A and A# is played out through the lens of the pastoral genre. I show how Chaminade frames the Concertino in the pastoral expressive genre through her employment of musical topics. In my conclusion, I propose a new narrative that removes Chaminade’s supposed love, restores her agency, and defers the narrative to the artist performing the work instead of the one that wrote it.