The Ballade No. 1 in G minor, Op. 23 is a ballade for solo piano by Frédéric Chopin. Completed in 1835, it is one of Chopin's most popular works. A typical performance lasts nine to ten minutes. History The ballade dates to sketches Chopin made in 1831, during his eight-month stay in Vienna. It was completed in 1835 after his move to Paris, where he dedicated it to Baron Nathaniel von Stockhausen, the Hanoverian ambassador to France. In 1836, Robert Schumann wrote: "I have a new Ballade by Chopin. It seems to me to be the work closest to his genius (though not the most brilliant). I even told him that it is my favourite of all of all his works. After a long, reflective pause he told me emphatically: 'I am glad, because I too like it the best, it is my dearest work.'" Structure The piece begins in the first inversion of the A major chord, a Neapolitan chord, which implies a majestic aura, ending in a dissonant left-hand chord D, G, and E that is not resolved until later on in the piece. Though Chopin's original manuscript clearly marks an E as the top note, the chord has caused some degree of controversy, and thus, some versions of the work – such as the Klindworth edition – include D, G, D as an ossia. The main section of the ballade is built from two main themes. The brief introduction fades into the first theme in G minor, introduced at measure 8. After dramatic development, the second theme in E major is introduced softly at measure 68. The exposition is once again followed by development, in which the two themes, transferred to another tonal center (A minor and A major), undergo transformation. Then, a reprise presents the two themes in their original keys, albeit in reverse order. A thundering chord introduces the coda, marked Presto con fuoco, to which the initial Neapolitan harmony re-emerges in constant dynamic forward propulsion, which eventually ends the piece in a fiery double octave scale run down the keyboard. As a whole, the piece is structurally complex and not strictly confined to any particular form, but incorporates ideas from mainly the sonata and variation forms. A distinguishing feature is its time signature. While the other three ballades are written in strict compound duple time with a time signature, Ballade No. 1 bears deviations