Often it does sound like rehashed Liszt, and in addition there are leitmotif elements connecting the sections, for instance the melodic content of the material which begins with the dotted rhythms and which is after the conclusion of the ff opening is very similar to that of the chorale which doesn't use a dotted rhythm. The chorale music was composed first though within a short untitled music sketchbook type composition. Someone observed that the chorale sounds similar to the opening material of Liszt's funereal work for Mosonyi:http://www.youtube.com/watch?v=Ae8h2GyJswI
Since the method of composing the Ballade wasn't a conscious one - except for inserting the chorale before producing the remainder - what may have happened is the conditioned result of years of obsession with Liszt's music starting when I was a teenager. At the time of compositon I wasn't aware of any of these similarities, in the same way that Kuhlau whenever he used an alberti bass probably wasn't thinking of any particular Mozart or Haydn work - it was just part of the natural rhetoric in piano sound for him.
I am hoping to break through these limitations. There is an earlier Homage to Debussy suite which is one such attempt - other than a lot of parallel motion in the first movement it doesn't resemble Debussy, and very much involves scale patterns and harmonies dissociated from the limited Major-minor paradigm. Some of it however is unplayable on the piano - as with a Theme and Variations as the second movement, one variation of which is centered around glissandos with more than a few ff double octave glissandos in both hands which is a good way to rip the skin off one's thumbs! - and at other times also it isn't totally piano-appropriate, focused more on the ideal sound than practical limitations. Deep bass use in the suite though is strategic and limited. One of the variations is entirely in the upper four octaves of the keyboard. Fortunately the movements of the suite except for the first one are designed to be playable separately - the last of the variations in the second movement is its own work, and is 115 measures - however this is the one entirely in the upper four octaves, and delicatissimo throughout, which might produce for some listeners an experience similar to that of never-ending deep bass!
You are right that the endless deep bass without sufficient contrast in a composition the duration of the Ballade is too much. It could be a symptom that much of the music I write isn't really intended for the piano - there can be choral and orchestral works but rendered for the piano if one is not attuned to all the ins and outs of orchestration and the many instruments. And of course an orchestra has a much larger tonal palette than the piano - it can involve the deep bass for extended periods and yet remain much more timbrally interesting.
Thanks for taking the time to listen Polyphonist and for the critique. There is more that might be possible to add such as the experiences related to Södermalm - the Fantasy Ballade is intended as descriptive music, with water connection in the roaring and surging chromatic scales to portray the dramatico fountains on one of the squares, and the nearby Maria Magdalena church in the religioso chorale - but maybe this already has become a bit too long of a reply.