It was the kind of programme that great pianist Vladimir Horowitz used to pioneer, with the simple balm of Scarlatti offset by Scriabin’s flights of fancy, and a dash of virtuoso fireworks to conclude. Though he is an admirer of the master, and even featured Horowitz’s hyperintensification of an already extravagant Liszt transcription in this recital, Yevgeny Sudbin is very much his own man: a thinker verging on the visionary who always seems to know exactly where the more extreme fantasists among his chosen composers are heading.

Rachmaninov’s choral symphony The Bells always feels like a valedictory late work, a composer’s eloquent, melancholy adieu both to pre-revolutionary Russia and to the fulsome late-romantic style which had served him so well. Happily, Rachmaninov’s career didn’t finish in 1913, and his last few decades in exile resulted, sporadically, in some stunning pieces – the Paganini Rhapsody and the Symphonic Dances among them.

What, another review of an LPO/Jurowski concert in less than a week? Reasoning the need, it only has to be said that other orchestras may kick off their seasons by mixing the unfamiliar with core repertoire, but none would dare launch with not one but two programmes featuring this only-connect kind of singularity (and more to come in the “War and Peace” series next week).

It's been eight years since San Francisco Ballet were last here, charming us with their finesse and their smiles - welcome back. They offer a boost of spirit to the gloomsters of ballet over here. This small city which punches many times above its weight in the cultural world owes a vast amount of its self-confidence and charisma to its mixed ethnic roots, so the range of dancers from the Far East via North Europe and the Latino Americas is representative.

Let no one tell you that Chinese pianists can't play with passion. Yuja Wang ran the full gamut of emotions in last night's Queen Elizabeth Hall recital from the tender to the rhapsodic. But mostly she channelled her energies to delivering some of the most colourfully explosive playing I've heard for ages. 

Pundits have always yoked architecture and Bruckner together, touting void and mass at the expense of the dynamic experience music ought to be. Abbado and his Lucerne Festival Orchestra favoured sinuous instability in the Fifth Symphony earlier this week, making the very foundations gyre and gimble. Relatively solid ground last night was due to a more sober conductor and Bruckner symphony: a mixed blessing. The grand design, in fact, came from Leif Ove Andsnes in Rachmaninov’s Third Piano Concerto, making overall sense of a work which has always seemed swooningly resistant to it.

In recent years it seems we have seen an awful lot of Gerhard Richter. There have been three major exhibitions in London well within the last seven or eight years. One is hardly complaining, since there is always a demand to see “the world’s most influential living painter”, as he is often claimed to be (and not without some reason).

A legendary septuagenarian wind player from Switzerland returns to the repertoire with which he made his name 50 years ago, and there's an exciting live reading of a gloomy fin-de-siècle symphony conducted by a contemporary French giant. The same conductor also treats us to a sparkling Stravinsky rarity, and a youthful duo lighten the mood with some Russian fireworks on Merseyside.

Older pianomanes may lament the passing of the great Russian schooling that gave us the likes of Sofronitsky, Yudina and Richter. I'm not so sure. The younger generations may have dropped the mystic torch, but their more even-tempered approach can beguile. Yevgeny Sudbin forms the current holy trinity with Boris Berezovsky and Nikolai Lugansky. His latest Wigmore recital was revelatory, not always in a good way; that broad beam needn't have swept every corner of the broad Russian church he so singularly constructed in the programme's second half. But anyone who can make Liszt sound as lucid as Haydn is unique.

This Saturday we’ve a new recording of a famous Russian symphony played by an Italian orchestra under their London-based principal conductor. There’s a rare Shakespearean opera written in the 1950s by a Swiss master using a German text. And a Scottish composer celebrates his 60th birthday with an invigorating collection of piano and chamber works.