F Chopin Ballade N 3 in A flat Major op 47 human playing, music animation, visualization

This is a series of videos in which I created visuals on my album: F. Chopin, the Four Scherzos and Ballades
The visuals are not just a mere accompaniment but a unique way to enhance the listening experience and provide a deeper understanding of the music. I believe that, willingly or not, when we listen to music or compose one, we consciously or unconsciously visualize intricate lines that intertwine and create a harmonious whole.
These videos will make the intricate lines in the composer's mind visible, enhancing our appreciation of the complexity and (hopefully) the beauty of the music. They also serve as an educational tool, providing a deeper understanding of the structure and interplay of the musical elements.
I record all my projects on a MIDI equipped acoustic grand piano. The captured MIDI data served as a source for the animations and coupled with the acoustic recording.
The Ballades
Started in Vienna in 1831 and finished in Paris in 1835 the first Ballade in G Minor op.23, was one of Chopin's favorites.
According to Robert Schumann, this Ballade was inspired by the epic: "Conrad Wallenrod" a large poetical work by Mickiewicz which narrates the battle of Teutonic knights against pagans. However, it is very unlikely that Chopin, always cold to programme music, would have thought to put to music this kind of epic so foreign to his character. Liszt, on the other side has a better description: "an odyssey of the soul of Chopin".
The G minor Ballade is a large poem full of passion, feelings and almost painful melancholy. It may be seen in three parts boxed with a Lento introduction and a Presto coda. Almost a sonata with two major themes, their expositions, their development and various intermediary parts.
Drafted in 1836 and finalized in 1839 during the stay of Chopin with George Sand in Majorca, the second Ballade, in F Major op.38, was published in 1840.
It is dedicated to Robert Schumann in response to the dedication of Kreisleriana op.16. This should be looked at a courtesy dedication since we know how Chopin was closed to art of Schumann which he never liked the music.
Chopin rarely played this piece entirely. Again according to Schumann, this Ballade was inspired by Mickiewicz's poem about a legend connected to the Lithuanian lake Switez: a mysterious woman emerging from it narrates the struggle of Lithuanians against the Czar's armies and the transformations of the death into aquatic flowers. That may reminds to us, in some ways, the "Cathédrale engloutie" by Debussy.
The second Ballade is an alternation of softness and strength. The first soft part was played by the composer, according to Pauline Viardot, a leading nineteenth-century French mezzo-soprano, pedagogue, and composer, without any nuances except where indicated. This part does invoke the clam water of the lake. Does the following Presto con fuoco depicts the struggle mentioned above? May be.
The second exposition of the alternating soft and strong parts leads to a vehement coda which will nevertheless, conclude with a recalling of the introductory calm.
In the key of A flat major, particularly cherished by Chopin, the third Ballade op.47, started in 1840 was finished and published in 1841. "Ondine" a title often given to it, is from a poem by Mickiewicz relating the story of a young man in love with a nautical creature he would chase deep into water.
Schumann claimed that this work, quite different from the previous ones by its character and form is one of the most unique by Chopin.
When first played by the composer at the Pleyel hall in 1842, the critic Maurice Bourges wrote in the Gazette musicale: "This is one of the most accomplished compositions by Monsieur Chopin. His souple imagination is all over with an uncommon magnificence. In all parts of the composition is a harmonious and melodious unity, a warm animation and a rare vitality. This is poesy made with sounds."
Some see in its suave beginning an amorous duet between the lovers. The octave swinging is the base for the second theme which will develop throughout the work.
Dedicated to the Baronne Charlotte de Rothschild, the fourth Ballade in F Minor op.52, is a masterpiece by its inspiration, its eloquence, by the originality of its motives and by the richness of his harmonic language.
A pathetic work, sometimes passionate sometimes sad where Alfred Cortot commentated: "harmonically impressive, a refinement in the ecriture which is very meaningful of some new directions of the style of Chopin. No doubt, if he had lived longer he would have paved the way for our impressionism [to come]."