Louis Ehlert says of the four Ballades: "Each one differs entirely from the others, and they have but one thing in common--their romantic working out and the nobility of their motives. Chopin relates in them, not like one who communicates something really experienced; it is as though he told what never took place, but what has sprung up in his inmost soul, the anticipation of something longed for. They may contain a strong element of national woe, much outwardly expressed and inwardly burning rage over the sufferings of his native land; yet they do not carry with a positive reality like that which in a Beethoven Sonata will often call words to our lips."

According to Niecks "None of Chopin's compositions surpasses in masterliness of form and beauty and poetry of contents his ballades. In them he attains the acme of his power as an artist."

Schumann wrote to Heinrich Dorn on September 14, 1836:" The day before yesterday, just after I had received your letter and was going to answer it, who should enter?--Chopin. This was a great pleasure. We passed a very happy day together, in honour of which I made yesterday a holiday...I have a new ballade by Chopin. It appears to me his 'genialischstes' work; and I told him that I liked it best of all." Chopin confessed to Schumann having "been incited to the creation of the ballade by the poetry".

James Huneker about this Ballade: "The G minor Ballade after "Konrad Wallenrod," is a logical, well knit and largely planned composition. The closest parallelism may be detected in its composition of themes. Its second theme in E flat is lovely in line, color and sentiment. The return of the first theme in A minor and the quick answer in E of the second are evidences of Chopin's feeling for organic unity. Development, as in strict cyclic forms, there is not a little. After the cadenza, built on a figure of wavering tonality, a valse-like theme emerges and enjoys a capricious, butterfly existence. It is fascinating. Passage work of an etherealized character leads to the second subject, now augmented and treated with a broad brush. The first questioning theme is heard again, and with a perpendicular roar the presto comes upon us. For two pages the dynamic energy displayed by the composer is almost appalling. A whirlwind I have called it elsewhere. It is a storm of the emotions, muscular in its virility."