In summer 1942 they met again at the Accademia Musicale Chigiana in Siena, where the cellist Arturo Bonucci (Sr.) (head of the chamber class, husband of Pina Carmirelli) put them together with the viola player Lionello Forzanti for the study session.

[4] Their debut followed on 12 November 1945 at the Sala dei Mori in Carpi, as the Nuovo Quartetto Italiano, in the inaugural concert of the Società degli Amici della Musica.

Debuts followed that year in Austria, England, at the Venice International Festival, and at the Engadin Konzertwochen (where their collaboration with clarinettist Antoine de Bavier in the Mozart Quintet K.581 occurred - recorded also for Decca label).

It was at Salzburg that they had a long and very influential interview with Wilhelm Furtwängler, who urged them to work towards a much greater freedom of expression which would access for them the world of Grand Romanticism.

[6] The group was then studying the six Mozart Quartets dedicated to Joseph Haydn, and performed them at venues including Milan and Fiesole.

In their late concerts the group focussed especially upon Beethoven and Schubert, often devoting a recital to two works, a single masterpiece by each composer.

Dino Asciolla was an eminent viola maestro with many recordings, including 'Le sonate per Pianoforte ed Archi (Doppio CD)' with Corrado Galzio (pianoforte), Dino Asciolla (viola), Salvatore Accardo (violino) and Francesco Maggio Ormezowski (violoncello).

Bach's The Art of Fugue (his last recording was made in Bergamo at Sala Piatti on 3 May 1985) with his wife, Pegreffi and two pupils of Farulli and Rossi (Tommaso Poggi, viola and Luca Simoncini, cello).

Elisa Pegreffi (Genova, 10 June 1922 – Milano, 14 January 2016) devoted herself to teaching; Piero Farulli (Firenze, 13 January 1920 – Fiesole, 2 September 2012) found his place in the school of Fiesole; Franco Rossi (Venezia, 31 March 1921 - Firenze, 28 November 2006) returned to the performance of chamber music.

They also planned to play Schubert's String Quintet with Pierre Fournier, and Mozart's Quintet with two violas (K.516) with Milan Škampa, violist of the Smetana Quartet, but neither project was realized, the first due to the impossibility of finding a concert date, the second due to a visa refusal from the Czechoslovakian authorities.