Classical music lovers, from Brahms to Schumann, take note. Recent performances by the Tokyo String Quartet and Kalichstein-Laredo-Robinson Trio at the 92nd Street Y received highly impressive reviews from critics at the New York Times and New York Sun. First, let’s check in with Vivien Schweitzer of the NY Times on last Saturday’s Tokyo String Quartet concert:

In the quartet’s performance at the 92nd Street Y, marking the 150th anniversary of [Schumann’s] death, it was a passionate, richly toned discussion among intelligent, charismatic equals: Martin Beaver and Kikuei Ikeda, the violinists; Kazuhide Isomura, the violist; and Clive Greensmith, the cellist.

During the first half of the program the ensemble was joined by Alon Goldstein, a fine young pianist who proved a worthy match for his illustrious colleagues in Schumann’s Quartet for Piano and Strings in E flat (Op. 47), written in 1842. This was exemplary chamber music. Its achingly lovely Sostenuto assai contrasted vividly with the electric momentum of the Scherzo, and the lushly melancholic theme of the Andante Cantabile was tenderly played before an impeccably wrought fugue in the final movement.

The Kalichstein-Laredo-Robinson Trio earned their praise as well.

Fred Kirshnit, NY Sun: This reworking of a classic is a fine metaphor for the progress of this remarkable performing ensemble. Thirty years ago they were brash and confident musicians, each with a very high concentration of technique. Now they are a completely jelled unit, a threeheaded, six-armed musical being, capable of consistently good realizations of the jewels of the chamber repertoire, and a healthy interest in the contemporary scene. With or without guests, their recitals are some of the very few in this town that come with a strong guarantee of solid musicianship.

This night, little things added up to a superb performance: The dramatic opening of the Allegro energico from the C Minor Trio, the entrance of Mr. Laredo in the Allegro con brio of the B Major, the reverent pace of Mr. Kalichstein in the Adagio of the same work. That Adagio was extremely eloquent, setting up the cello solo that may be the most expansive melody in all of Brahms — and that is saying a lot. Ms. Robinson has always dazzled with her broad sound and generous vibrato in this section, as witnessed by the recording that the three made back in their early years. But this current iteration of her singing line seemed even more profound, the voice of experience creating an overlay of authenticity for her throbbing, vibrating musings.

Bernard Holland, NY Times: Sitting in the middle of Tuesday’s concert were perhaps the most inviting moments of the evening: the Trio in C from the early 1880s. Here sharp edges are softened and big statements tenderized. Especially appealing is the theme-and-variations movement with its touches of Hungarian melody and rhythm.

You still have plenty of opportunities to catch these and many other great musicians at the Y this season.