What dancemaker wouldn't want to tackle Le Sacre du Printemps (The Rite of Spring) at some point? Just as the Stravinsky score changed music, the original Ballets Russes production changed dance - and was then, conveniently, so completely forgotten that no master-text exists. Everyone is free to take the Stravinsky and run. Or rather, dance: as Michael Clark has observed, one of Sacre's gifts to a choreographer is the in-built necessity of dance to the scenario, in which a victim is chosen by a crowd and forced to dance to his or her death.

A full house for a premiere performance: Wynton Marsalis bucks the trend in contemporary music. He’s an established name, more for his jazz than his classical work. But in recent years he has produced a substantial body of orchestral music, so the flocking crowds know what to expect. His new Violin Concerto continues the trend. Popular American idioms – mainly jazz and blues – are integrated into a classically oriented orchestral style with an impressive craftsmanship that hides all the joins.

The pulling power of the BBC Proms was in action last night, as a virtually full Royal Albert Hall settled down at 6.30pm, and braced itself for 22 testing minutes of restless, angular, unforgiving 1960s Boulez.The audience had been lured in by the gentler fare that was to come in the second half, but Boulez's Figures - Doubles - Prismes, under the taut control of its pulse by François-Xavier Roth, definitely left its mark.

Yet another full Proms house sat down, and of course stood, for a rather strange six course meal which turned out not quite what the menu had led us to anticipate.

So to the second leg of Leif Ove Andsnes's journey through the Beethoven concertos, and a distressingly underpopulated Royal Albert Hall. Perhaps the punters were put off by the wintry weather, or perhaps by the dread names of Schoenberg and Stravinsky on the bill. Either way, it is shocking that Andsnes’s wonderful playing should have been to anything other than a full house.

Beethoven’s piano concertos have been no strangers to any Proms season. Only five years ago our own Paul Lewis embarked on a cycle not so very far, in terms of elegance and stylishness, from that of the present pianist-in-residence, Leif Ove Andsnes. Where Lewis proved a phenomenal trill-master, Andsnes’ runs and flights make his own approach especially rich and rare.

It was as a violin soloist with the Scottish Chamber Orchestra that Joseph Swensen first appeared, in the mid-1980s, on the Scottish musical scene. He went on to become the orchestra’s principal conductor – a long and fruitful collaboration that lasted from 1996 to 2005.

Time was when a Boulez concert with the LSO would have been directed by the man himself, but that is no longer possible. In Peter Eötvös they have the next best thing, a conductor who has known the man and his music for decades, whose listening ear is scarcely less acute and whose most recent appearance wth the LSO, in Lachenmann and Brahms with Maurizio Pollini, made quite miraculous music from intensive rehearsal.

Over the past two Saturdays, Vladimir Jurowski and a London Philharmonic on top form have given us a mini-festival of great scores for Diaghilev’s Ballets Russes.

For his second programme this week with the London Symphony Orchestra, Sir Simon Rattle conducted variations on a programme he’s been doing for years. So what’s the theme? Invention and hysteria, you might say. Berg’s Marie in Wozzeck and Stravinsky’s virgin in The Rite of Spring both meet gory if wordless ends. Ligeti’s Chief of Police in Le grand macabre reverses roles and deals death to anyone in her path. Or at least threatens it.