It’s hard to believe that the Ariel Quartet has been quartet-in-residence at CCM for 15 years. Lest we ever take this astonishing young ensemble for granted, it’s important to know that their annual concert performances are as fresh, invigorating and insightful as they were when they’d just arrived.

The Ariels – violinists Alexandra “Sasha” Kazovsky and Gershon Gerchikov, violist Jan Grüning and cellist Amit Even-Tov – came together as teenagers in 1998, and three are original members. Lately, their big project has been to record the entire cycle of Beethoven String Quartets. Vol. III is expected out any day on CD and on streaming platforms. Read more about that here.

Their program, titled “Blueprints,” included Haydn’s String Quartet in C major, Op. 33, No. 3 (“The Bird”) and the Pulitzer Prize-winning composer Caroline Shaw’s “Blueprint” in the first half. (The Ariel will reprise these two works on Dec. 8 at Carnegie Hall.)

After intermission, the quartet was joined by CCM’s newest member of the piano faculty, Liza Stepanova, who played superbly in Shostakovich’s Piano Quintet in G minor, Op. 57.

The small Werner Recital Hall at CCM was jam-packed with faculty members, students, patrons and loyal fans of the quartet. They opened with Haydn’s Quartet Op. 33, No. 3, subtitled “The Bird” – either for its chirping opening theme or the trilling duet of the violins in the second movement.

The viewer felt the energy of every note in this crisp reading. The Scherzo’s opening theme was muted, almost hymnlike, making the bird duet of its trio a sweet contrast. After an elegant Adagio movement, the finale offered a galvanizing display of virtuosity. The musicians attacked the accents in this movement, an effect that seemed to look directly ahead to Beethoven. Kazovsky – who recently had her third child — was in the first violin chair, and she played radiantly.

For Caroline Shaw’s “Blueprint,” Gerchikov, who sat in the first violin chair this time, explained to the audience that Shaw’s piece is a musical conversation between Haydn and his pupil, Beethoven. An astute listener heard snippets of Beethoven’s String Quartet, Op. 18, No. 6 in her work. It opened with halting phrases (from Beethoven), separated by silences. They repeated, each time with more intensity. Shaw’s inventive writing included a spectacular pizzicato dialogue that ricocheted across the ensemble. Gerchikov performed a soaring theme over driving repetitions played by his colleagues. The music was somewhat minimalist and atmospheric. It ended all too soon in a burst of energy.

After intermission, Liza Stepanova joined the quartet for her debut performance in Cincinnati in Shostakovich’s Quintet in G Minor. The Soviet composer was back in favor when he wrote this piece in 1940, for which he was awarded the Stalin Prize, and performed its world premiere with the Beethoven Quartet.

This was a performance of great emotional intensity. Despite some happy moments in this work, nearly every movement also had a poignant quality. The first two movements, a Prelude and Fugue, pay exquisite homage to Bach. Stepanova’s forceful opening bars of the Prelude were answered just as vehemently by the string players. The introspective Fugue, marked Adagio, played out seamlessly, peaking in a searing statement by Even-Tov’s cello before gently subsiding.

The scherzo was driving and rustic. The players dug into their strings against staccato chords in the piano. In the Intermezzo, the musicians brought the work to a sublime summit, with exquisite phrasing by Kazovsky, again in the first chair. Shostakovich wrote a cheerful finale that even had touches of humor, and the quintet took full advantage of this sudden change of mood. Throughout its five movements, they communicated wonderfully together. The Ariel performed with peerless ensemble and expressive beauty, while Stepanova played powerfully in the percussive sections and added sublime color to the reflective moments.

The Ariel Quartet has three more concerts here this season. Tickets and programs are here.