Wednesday and Thursday evenings saw the return of Steven Isserlis & Friends to Zankel Hall. Who’s Steven Isserlis? A British cellist. And who are his friends? This year, they were Jeremy Denk, the pianist, Paul Neubauer, the violist, and a superstar violinist: Joshua Bell. Last night, they played a mixed program, which is to say, a variety of composers. But Wednesday night, they played only one: Robert Schumann.

Messrs. Isserlis and Denk began the evening with the “Five Pieces in Folk Style,” ever popular with cellists and audiences alike. Mstislav Rostropovich recorded this set with Benjamin Britten accompanying him. As for Mr. Isserlis, he gave the pieces an appropriate folk character, even a slightly rough and gritty one. His tone tended to be dark, and at times it was almost muffled. In the first piece, he was not terribly clear or clean. And in the fourth, that tone could have been brighter, to go with Schumann’s bright D major.

But Mr. Isserlis provided overall satisfaction. The second piece is a song — a beautiful one — and Mr. Isserlis sang it well. So did the pianist, Mr. Denk. He played the five pieces in his usual bold, forthright manner (a manner that can occasionally be blunt). Unfortunately, his trills at the end of the second piece — the song — were awkward.

Next on the bill was one of Schumann’s very best pieces, his Piano Trio in D minor. The work is said to depict one of the composer’s struggles with depression, and his joyful emergence out of it.

As to the performance, I might first say that Joshua Bell played much, much better than he had eight days before, upstairs from Zankel in Carnegie Hall’s main auditorium. On that occasion, he played the Brahms concerto with the Pittsburgh Symphony Orchestra. He did not play badly; he was simply some distance from his best self. But on Tuesday, he was firing on all — or most — of his musical and technical cylinders.

From all three players, Schumann’s first movement was strong and impassioned. They played Romantically, but not crazily (if you know what I mean). And they exhibited an admirable amount of unity. Mr. Denk does not emphasize smoothness of line, seeming to be concerned with more percussive elements. But he was no hindrance.

The second movement of the trio is a scherzo, and it begins with a wonderful sneaking, galloping feeling. The players could have used more of that feeling. And the pianist might have been more hushed and subtle. In the third movement — the slow movement — Mr. Bell did not produce his best intonation, but he produced his superb sense of lyricism.

And the final movement brought the desired exultation, as Schumann’s heart overflows with gratitude and melody. The music had tremendous, exciting forward movement, provided chiefly by Mr. Denk.

After intermission, Messrs. Bell and Denk took the stage, for the Three Romances, Op. 94. Mr. Bell has a way of meandering along with this sort of music, and this quality is very attractive. Also, he takes obvious pleasure in music-making, which not all professional musicians do. In my experience, he never does anything routine, never phones in. Mr. Denk showed real sensitivity in the Romances, especially the second one, which requires a quiet soulfulness.

The program ended with the Piano Quartet in E flat, which is not to be confused with another Schumann chamber piece featuring the piano: the very great Piano Quintet, which is in the same key. The quartet begins in stately, hymn-like fashion — you might even say prayerful fashion. Our players showed due respect. And later, we heard some more of that forward movement, and excitement, and Romantic abandon.

The slow movement is one of Schumann’s beauties, and the players sang in it beautifully. You could say they ought to have: The movement is marked Andante cantabile, which asks for a “singing” andante. And the Finale is a shout of counterpoint, fast and exhilarating. The group was somewhat rushed and imprecise here. But they displayed tons of heart, causing grins all around. Mr. Bell’s marcato playing was so good as to be gripping.

Regular readers may know that I am not a particular fan of one-composer evenings. But if you have to pick a composer — Schumann is not a bad way to go. For one thing, the guy’s melodic invention wouldn’t quit.

Allow me to end with a tonsorial observation. The ‘fro of Steven Isserlis? It has to be the largest in all of music. It makes James Levine’s look like a crew cut.