…I found Rysanov's performances of both Sonatas compelling, vivid and packed with moments of great musical insight. The two trio performances are also extremely enjoyable…

Brahms was the first to admit that he hadn't entirely solved the new problems of balance in the works that replace the clarinet with a viola (the clarinet sonatas and the Op 114 Trio). With recording, of course, some help can be given.
The viola is well forward in the performances by Rysanov, and this suits the music's extrovert, eloquent manner. In the First Sonata, in which Rysanov is accompanied by the excellent Katya Apekisheva, the music is more freely phrased, with a humorous sense of the latent waltz in the Allegretto and plenty of vigour in the finale. In the Op 114 Trio, the outside movements benefit from the vivid sense of melodic direction provided by Rysanov and Katsnelson.
The G major Violin Sonata was also written for Joachim, and arranged for viola not by Brahms but by his publisher Simrock's editor Paul Klengel. Transposing it from G down a fourth to D to accommodate the viola loses the music something of its elegance, but this is a persuasive performance. Persuasiveness is also needed in Op 40, which began life as the Horn Trio. Not all the cheerful vigour that Rysanov and Apekisheva provide can make the finale seem anything but a piece of hunting exuberance, but they do splendidly with the Scherzo and the Adagio mesto.

In the First Sonata, in which Rysanov is accompanied by the excellent Katya Apekisheva, the music is more freely phrased, with a humorous sense of the latent waltz in the Allegretto and plenty of vigour in the finale. Rysanoc and Jacob Katsnelson are also more effective with the Second Sonata, especially in the agreeably conversational manner they adopt in the final variations, as when the melodic line flows seamlessly between them in the grazioso section.