Amédée Méreaux - Fantaisie et variations brillantes "Marguerite", Op.44

Amedee Mereaux - Fantaisie et variations brillantes pour piano sur les couplets en trio et la sérénade de Marguerite, d’Adrien Boïeldieu.
I've found a critique review from an old newpaper from 1938 (I think) Revue et gazette musicale de Paris. Translation is a bit cryptic but I think you get a picture of what the writer meant.
English
Although the author of the first of these different works has already written 43 works before the one we are going to deal with, this number 44 is nonetheless the first that has fallen under my eyes. I admit frankly that if I find any reproach to address to this composition, it is because it is not treated in its entirety with equal superiority, and that the ideas, beautiful in general, do not all rise at the same height. The introduction is somewhat imbued with a tinge of romantic savagery that hardly fits with Monsieur Boieldieu's very gracious motif; It would not, moreover, be a great evil, if by itself this introduction were of a sufficiently pleasant effect to make forgive the kind of misinterpretation formed by its color, rather badly dark and mysterious. Of all the variations, the second is where the author was most inspired; it is remarkable for its invention and cannot fail to produce a great effect. As for the other variations, they are generally distinguished by gloss. The final begins with a very pretty motif, which unfortunately promises more than it holds, and to which the trio in E flat only joins in an almost gloomy manner. Then comes a series of waltz movements, treated in the manner of Hummel, in his Amusements. There is even a passage which recalls almost note for note one of these Amusements (Austrian style), a vague memory of which must have come to gently rock Monsieur Mereaux, while he was writing his fantasy. The end of the piece also shows in Mr. Méreaux an in-depth knowledge of Hummel's works and frequently gives rise to the memory of this great master, a memory which, moreover, can only be very pleasant for all those who cultivate the piano. Performed by a skilful pianist, Monsieur Méreaux's fantasy will undoubtedly produce a great effect, and this work can be recommended with confidence to all pianists, since in short it is distinguished from other salon compositions by the invention, and often even by originality.
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French
Bien que l'auteur du premier de ces différents ouvrages ait déjà écrit 43 œuvres avant celle dont nous allons nous occuper, le présent numéro 44 n'en est pas moins le premier qui me soit tombé sous les yeux. J'avoue avec franchise que si je trouve quelque reproche à adresser à cette composition, c'est qu'elle ne soit pas traitée dans son entier avec une égale supériorité, et que les idées, belles en général, ne s'élèvent pas toutes à la même hauteur. L'introduction est quelque peu empreinte d'une teinte de sauvagerie romantique qui ne cadre guère avec le motif tout gracieux de Monsieur Boieldieu; ce ne serait, du reste, pas là un grand mal, si par elle-même cette introduction était d'un effet assez agréable pour faire pardoner l'espèce de contre-sens formé par sa couleur, assez mal à propos sombre et mystérieuse. De toutes les variations, la seconde est celle où l'auteur a été le mieux inspiré; elle est remarquable d'invention et ne saurait manquer de produire un grand effet. Quant aux autres variations, elles se distinguent en général par du brillant. Le final débute par un fort joli motif, qui malheureusement promet plus qu'il ne tient, et auquel le trio en mi bémol ne vient se joindre que d'une manière presque maussade. Vient ensuite une série de mouvements de valses, traités à la manière de Hummel, dans ses Amusements. Il s'y trouve même un passage qui rappelle presque note pour note un de ces Amusements (à l'autrichienne), dont un souvenir vague a dû venir bercer doucement Monsieur Mereaux, pendant qu'il écrivait sa fantaisie. La fin du morceau accuse aussi chez Monsieur Méreaux une connaissance approfondie des œuvres d'Hummel et fait naître fréquemment le souvenir de ce grand maitre, souvenir qui, au surplus, ne peut être que fort agréable pour tous ceux qui cultivent le piano. Exécutée par un pianiste habile, la fantaisie de Monsieur Méreaux produira assurément un grand effet, et cette œuvre peut être recommandée en toute confiance auprès de tous les pianistes, puisqu'en somme elle se distingue des autres compositions de salon par l'invention, et souvent même par l'originalité.

[@Varooooooom]

12:00 I love the character of the piece here. And from here onwards, it’s impossible to turn away my ears from this. For once, I imagined what a Mereaux piece would sound like under Cziffra’s fingers hahaha. Again, this is a superb and brilliant performance you’ve provided. Thank you :)

[@Swedi6749]

Bravo bravissimo, you are so talented Adam.

[@DemitNWC]

So many thanks for this. I transcribed it a year ago but gave up eventually due to its length. What a beautiful theme melody. Fascinating performance and interpretation :D

[@AEPMUSlC]

I still think you should upload it if were more than halfway done :) Thanks btw!

[@Varooooooom]

Is this you performing?? I have to assume it is. First of all, spectacular piano/keyboard quality you got there!! Secondly, this interpretation is masterful! Your technique is clearly extremely well-developed. I wish more people knew about your channel.

[@Jartious]

This is such a beautiful piece, it's a shame mereaux is badmouthed for his etudes, which are also quite nice in my opinion!

[@ryzikx]

nice

[@Varooooooom]

10:14 - “vibrato ad. lib”???

[@pawncube2050]

lmao méreaux was so advanced on weird technics he made vibrato on piano as he wished
Probably meant the vibrato as he often uses + ad lib, perhaps you're allowed to improvise a bit

[@Varooooooom]

Rodrigo Damasceno - Wait are you joking with me or is this forreal? LOL

[@pawncube2050]

@@Varooooooom jk xD I often see méreaux marking vibrato on parts like this, he probably means like very full sound or emotional. Not sure :P

[@pawncube2050]

@@Varooooooom Actually, against all odds, it might just be that my joke was actually right. I was discussing with someone about that passage, I found a forum talking about vibrato marking in the end of liszt liebestraum 3, there someone said that vibrato was actually possible in clavichord and in fact very common, and it was still slightly possible in early pianos, in fact Liszt seems to have often used it too. Take a look, its awesome, th-cam.com/video/-P9-xNGRH9k/w-d-xo.html
The ad lib might really mean how much you want, because in older notations it seems they used a dot for every movement you did to mark the vibrato, here méreaux might indicate how much vibrato you want. wow

[@AEPMUSlC]

@@pawncube2050 I believe vibrato notation for piano is more psychological than anything else. Mereaux wrote staccato with full pedal there so I interpret this as the idea of letting the overtones just ring out causing a wavy "pseudo-vibrato" effect (unless he actually meant shaking the whole piano fast and violently 😂). He wrote something similar in the introduction of op. 42. In other instances I've seen vibrato I usually imagine the melody should be that as of an opera singer, strong and independent. In the end of liebestraum 3 Liszt also wrote crescendo on static chords which further leads me to believe it's a psychological notation rather than something technical.

[@marinadela1361]

I dislike this sheet music font. It's wayyy too squished and narrow and some of those pause markings are very weird on the opposite side like that.