Although nearly 40 years separate the composition of these two works, it is surprising how mature is the language of the F minor Sonata. It may make greater demands on the pianist in terms of virtuosity, but the fundamental style is very similar to that of the Op. 118 Piano Pieces. Therefore, a pianist who succeeds in the one will almost inevitably be able to adapt to the other. Janis Vakarelis portrays Brahms in a rather less complex light than does Radu Lupu on Decca. For the Greek-born pianist the mood is either of a gentle lyricism or a passionate maestoso. Neither one really hints at the darker side of Brahms, and therefore the character of the music is perhaps on the ingratiating side in these interpretations.
The opening movement of the sonata has an Allegro maestoso marking and Vakarelis takes this at a rather faster pace than is usual—the same could be said of the finale. His technical finish is not always ideally accomplished and he ignores the repeats in the work, something that is ill-considered when tempos are quick. Nevertheless, his gestures are both assured and grand enough for the music to emerge unscathed. A spiritual dimension in the Andante, such as one appreciates in Lupu's rapt account, may be missing here, but the poco piu lento section has an effective simplicity in Vakarelis's reading.
It is a feeling for the romantically hushed and dreamy aspect of Brahms that is the most noticeable feature of Op. 118, but here again I prefer Lupu (Decca), who uses the melodic material to determine the ethos of each piece in a much more subtle manner. In the G minor Ballade, the third piece, Vakarelis rises to the energico marking well, but then allows the trio section to meander into a Griegian realm, so that it does not effectively complement the main section. However, his impressionistic style in the last piece, the Intermezzo in E flat minor, conveys an entirely apt delicacy.
Although the sonata here has little of the authority of the 72-year-old Rubinstein's marvellous RCA account and nowhere near approaches the spiritual identification that Lupu has with the piece, Vakarelis is undoubtedly a highly gifted pianist who is suffering from comparison with two acknowledged masters. For those attracted by the coupling, the CD can be recommended, if only partially. The recorded sound is refined.'