I suspect that it was the First Sonata that elicted the fondest response from Kyung-Wha Chung and Peter Frankl. Theirs is indeed a performance of rare poetry, with Chung weaving a veiled and vibrant solo line right from the start and Frankl responding in a like-minded fashion, occasionally splitting chords for expressive effect (as at around 2'12'' into the first movement). The distended transition to the recapitulation (6'37'') is particularly effective, but perhaps the highlight of the performance – indeed, for me, of the whole disc – is that inward passage near the end of the Adagio (from 5'58'') where Brahms anticipates the twilit world of his late piano pieces and Chung traces a rapt, fragile thread of tone. Sweetness returns for the closing Allegro molto moderato and, excepting one or two hesitant moments (just prior to the first double-stopped episode in the Adagio, at 3'52''), the performance is deeply memorable.
I was rather less convinced by the other two sonatas, although both performances have their strengths. The opening of the A minor work struck me as a mite prosaic but the finale has a restrained, wistful quality that suits the music, and Frankl is a consistently thoughtful collaborator. The Third Sonata’s first movement is suitable earnest and the Adagio warmly played by Chung, but I thought the Presto agitato finale underpowered. The recorded balance has been well judged but, given a choice, I would opt for the more imaginative, and certainly more dynamic, Pamela Frank/Peter Serkin recording that I reviewed last month.
Chung and Frankl are worthy exponents of Brahms, and a good deal more than that in the First Sonata, but if interpretative interest and a strongly individual point of view are leading priorities, then I would definitely opt for the Decca disc.'