Some of the most poignant moments in the chamber music repertory are in the Adagio of Beethoven’s Op. 132 String Quartet, which he titled “A Convalescent’s Holy Song of Thanksgiving to the Deity, in the Lydian Mode.” The Tokyo String Quartet offered an elegantly wrought interpretation of the work, which Beethoven composed after recovering from a severe illness in 1825, on Saturday evening as part of its cycle of Beethoven’s complete string quartets at the 92nd Street Y. The Tokyo began the series in 2008, organizing the quartets by period and pairing them with Beethoven piano sonatas performed by various artists.

The program on Saturday, the next to last in the series, was dedicated to late Beethoven. Robert Levin offered a nuanced and thoughtfully conceived (if occasionally heavy-handed) rendition of the Piano Sonata in A (Op. 101). The opening movement sounded rather matter of fact. But Mr. Levin, a musicologist and performer who specializes in Baroque and Classical repertory, which he often performs on fortepiano, played with clarity and pointed articulation, deftly revealing the complexities of this complicated sonata, particularly in the fugal fourth movement. Mr. Levin joined Clive Greensmith, the Tokyo String Quartet’s cellist, for a colorful rendition of Beethoven’s volatile Cello Sonata in C (Op. 102). They elegantly conveyed the varying moods, from introverted lyricism to urgent outbursts.