The Dali Quartet offered more than just technical brilliance or stylistic range on Sunday. They offered conviction, enthusiasm, and a visceral sense of purpose.

No violinist on Earth is more conspicuously animated in performance than Ari Isaacman-Beck, first violinist of the Dali String Quartet, which brought both standard and contemporary works to life at the Mahaiwe Performing Arts Center on April 27. When things get hot and heavy, he just barely manages to stay in his chair. But the group’s second violinist, Carlos Rubio, also has a way of visually conveying his musical enthusiasm, as do the group’s violist, Adriana Linares, and cellist, Jesus Morales, each a study in expressive intensity. All the players seemed at times to be on the verge of levitating.

The program on Sunday was as follows:

Beethoven — String Quartet No. 1 in F Major, Op. 18, No. 1
Morales-Matos — Divertimento Caribeno No. 3
Piazzolla — Tango Ballet for String Quartet
Mendelssohn — String Quartet No. 6 in F minor, Op. 80

The group brought startling precision to the Beethoven, revealing all manner of expressive nuance that many ensembles plow through blithely. Published in 1801, this quartet marks Beethoven’s initial foray into the string quartet genre, written after he had mastered the classical style of Haydn and Mozart.

Sonia Ivette Morales-Matos’ Divertimento Caribeño No. 3 is a prime example of the kind of Latin-infused repertoire for which Dali Quartet is famous. In fact, the players seem to have been born into this music, cellist Jesus Morales being the composer’s brother. (Members of the group are from Venezuela, Puerto Rico, and the U.S.) Complex, syncopated rhythms characterize the piece, making it unsuitable for all but the most accomplished players. This quartet made it sound difficult but look effortless, in a test of the group’s ability to lock into a danceable groove and stay tightly together through every twist and turn. For the listening audience, the piece is somewhat challenging but fun, and the Mahaiwe crowd responded enthusiastically.

Piazzolla’s “Tango Ballet for String Quartet” received a thoroughly authentic treatment from the Dali Quartet, whose natural affinity for Piazzolla’s music is unmistakable. Composed in 1956 as a film soundtrack, the piece stands as an early milestone in Piazzolla’s development of nuevo tango—a groundbreaking fusion of traditional Argentine tango with elements of classical music and jazz.

Felix Mendelssohn’s String Quartet No. 6 in F minor, Op. 80, features solo violin passages that rival the difficulty of his famous violin concerto. Dali first violinist Ari Isaacman-Beck took the bull by the horns in commanding fashion, but even he couldn’t make the finale look easy. What he could do was make it sound like an awful lot of exhilarating fun. The crowd responded accordingly: A loud ovation ensued.

The Dali Quartet offered more than just technical brilliance or stylistic range on Sunday. They offered conviction, enthusiasm, and a visceral sense of purpose. They played like the music mattered—which, in their hands, it absolutely did.