In 1975, Israeli pianist Joseph Kalichstein substituted on short notice for an ailing Rudolph Firkusny at a concert organized by Bolivian violinist Jaime Laredo at the 92nd Street Y. Thirty years later, they, along with cellist Sharon Robinson, continue to thrive as the KLR trio, and, though they’ve never achieved the international stardom many of us predicted, they have sustained continuous service at the Y. For the group’s anniversary on Tuesday evening, it offered the same program that started it all, the three piano trios of Johannes Brahms published in his lifetime (there is a fourth, but it is opus posthumous).

How are they faring 30 years on? Absolutely splendidly.

KLR is the tightest imaginable unit, so aware of one another’s moves — Mr. Laredo and Ms. Robinson are husband and wife — that the players actually breathe together. Intelligence and inspired listening characterize their presentations. Witness, for example, the musicians’ elimination of any significant pause between movements two and three of the B Major Trio, emphasizing the sound of one continuous movement quenching the most basic of human emotional yearnings in the uniquely expressive language of tonality. Ms. Robinson’s third movement solos were incredibly beautiful and emblematic of a wonderful evening of music making.

This first trio made its premiere in America — in fact, right here in New York — but underwent significant revisions by Brahms before appearing in its final familiar form. Like the Piano Quartet in C minor, it towers over its mates and is the product of many years of telescoped time. Brahms wrote the piece in 1854 when he was the young, handsome, leonine virtuoso in love with both of the Schumanns, and he imbued the music with romantic, glandular passion. Thirty-five years later, however, he reinvented the work, elevating that passion to a much more intense level of cerebral and emotional involvement, a polymorphously perverse totality of heartfelt and selfless love.

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.

Mr. Laredo also possesses an Old World sense of vibrato and a steely, controlled intensity. Mr. Kalichstein is a chameleon, able to be astonishingly gentle or savagely powerful as needed. His steady pianism laid bare each of the trios with the skill of a surgeon and the delicacy of a poet.

Although it was difficult to find fault with any of these three realizations, I was a little disappointed that all were on the same program. Of course, the group was waxing nostalgic about its own beginnings, but then the musicians probably should not have played all three on the same night back in the ’70s. Much more interesting and edifying might have been a presentation of one of these works framed by a trio of Beethoven that influenced it, say the “Ghost,” and a Fin de siècle piece that grew out of the Brahmsian tradition (for example, the piano trio of Alexander Zemlinsky).

But this is but a cavil. Maybe for their 60th anniversary, they can change the program.