A modest-sized Lied Center audience who passed up the football game Saturday night in favor of the Claremont Trio was treated to a young ensemble who played a varied program with great intensity. Works by Schumann, Frank Martin and Beethoven showed the group’s flexibility during a two-hour concert by twins Emily (violin) and Julia (cello) Bruskin, and Donna Kwong (piano).

The intensity was evident in Emily Bruskin’s posture, seated on the last inch of her chair and almost rising from it at musical cruxes. Julia likewise showed a laser-like focus on the music, whether on the score or in her own perception. Donna Kwong’s devotion to the music was differently expressed, serenely absorbed in it and playing brilliantly with equal composure in the most delicate and thunderous passages.

Robert Schumann’s Piano Trio in D minor, Op. 63, led the program, its four movements affording scope to the ensemble’s talents. From the flowing romanticism of the opening (“with energy and passion”) movement to the lively second and “slow, with intimate sensitivity” third and the buoyant (“with fire”) finale, the group showed its versatility. Here, as throughout the evening, they seemed most at home in the more impassioned passages, though there were moments of great sweetness, especially a lovely cello melody as the slow movement began.

Frank Martin, a 20th-century Swiss composer, provided the Piano Trio on Irish Folk Tunes as the evening’s second work. A curious selection, not even listed by the Claremont Trio as part of its repertoire, it comprises both distinctly Irish melodies and echoes of Schoenberg, whom Martin studied.

Its Allegro movement is marked with trills and turns; the Adagio incorporates a mournful cello solo that continues while the violin moves in an entirely different direction. The concluding Gigue features a lively jig on violin and piano while the cello simulates a bodhran.

Later, after variations, the jig returns, this time with the cello playing long melodic lines against the violin’s brisk dancing.

Yet throughout the first two works, even at their most intense and lively, the trio seemed to play with an oddly detached style. Not so after the intermission, when the evening’s plum was offered, Beethoven’s “Archduke” Piano Trio in B-flat Major. Here the trio seemed most engaged, and both their love for the music and their mastery of it were evident.

It was a particularly fine showcase for the talent of pianist Kwong, who made the tremendous demands of her part seem effortless. Playing always with precision, intelligence and sensitivity, Kwong introduced the theme of the Allegro moderato movement, then was joined by her partners. The group blended so closely that a run begun by one voice could be completed by another with the transition virtually unnoticeable.

A bright Scherzo movement followed, alternating vivid chromatic passages with serene waltz interludes; then an Andante cantabile with five elegant variations on the piano’s opening theme. The Allegro moderato finale, called “energetic” in the program notes, was all of that, with the ensemble playing its best of the evening as it reached it. Called back for repeated bows, the musicians obliged with an encore of the charming, lighter-than-air Scherzo from Mendelssohn’s D Minor Trio, Op. 49.