It was a pity that the young quartet of four South Korea-born female musicians gave their debut recital in Hong Kong without violist Kim Ji-won, because of “unforeseeable personal circumstances”, but the show went on nonetheless, and local violist Born Lau proved a very worthy stand-in who showed strong musicianship of his own.

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This was clear from the very outset. The fabulous buoyancy from second violinist Ha Yu-na and violist Lau in the opening of the Allegro moderato movement of Haydn’s String Quartet in E-flat major was a delight. It was played with joy and unity.

Nicknamed “The Joke” for the quirkiness of the minuet and trio movement and its finale of fun false endings, the quartet was something of a turning point for “Papa” Haydn; a shift from the seriousness of his early works to the introduction of his famous musical wit.

The Esmé’s rhythmical insistence in the peasant-like stomping of the Scherzo (which means “joke” in Italian!) made for a right rustic romp, and the deliciously milked glissandi (slides) from first violinist Bae Won-hee in the trio were exaggerated to the point of no return, delivering a brilliant mockery of aristocratic restraint.

Cellist Heo Ye-eun – along with violist Lau – oozed warmth and tenderness in the unfolding of the Largo, while the musicality and phrasing of violinists Bae and Ha was as one.

The finale, a Presto that rocked in the young string players’ hands, was interpreted with fire and uncanny precision. Had more been made of Haydn’s stunted false finishes, with pauses that were perhaps a hair longer here and there, and there been a tad more “theatre” in the closing lines, the composer’s humour might have spoken more to the audience.

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For Borodin’s much loved and lyrically rich String Quartet in D Major, the Esmé shifted to a romantic sound with ease. Their playing of the Russian music impressed deeply with their ever fluid use of tension and release, and ebb and flow, that was clearly the result of years of musical intimacy and hard slog.

The warmth that Heo drew from the cello in her solos that began the Allegro and the famous Notturno slow movement was never gushing or self-serving. Rather, her playing was ever thoughtful and heartfelt.

After achieving an otherworldly sound of (vibrato-free) serenity to conclude the first movement, the angular and quick-fire Scherzo provided a superb change of pace. Both Bae and Ha shone with silky violin tones in the passages of respite and clearly relished the duet work with winks, smiles and abundant joy.

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Lau’s viola tone was strong and assured when bringing out his lines in the Notturno, and as Bae’s violin hovered above the textures with her sumptuous and sonorous sound in the high registers, the nostalgic yet refined take on Borodin’s beloved movement felt complete.

If one had to choose a “Death and the Maiden” for that desert island playlist, the Esmé’s performance of Schubert’s famed String Quartet No. 14 after the intermission would surely be right up there.

There are any number of moments one could cite, but suffice to say that it was memorable and moving for its precision, the unrelenting energy of the finale, and for the interpretational depth the four players brought to a work of beauty and drama.

Given the edgy and uneasy emotions that pervade Schubert’s masterwork, “dazzle” was definitely not what the composer was aiming for. It was fitting, then, that the Esmé Quartet concluded their fabulous debut on a far more chilled note with a sensual and evocative reading of the Introducción del Angel from Astor Piazzolla’s “Suite del Angel”.

“Dazzle -Esmé Quartet Recital”, Hong Kong Arts Festival, Concert Hall, Hong Kong City Hall. Reviewed: February 28.