Televised concerts from Verbier are oases in the dross that litters Sky TV's Arts channel and probably more easily searched out (and enjoyed) online through medici.tv.
A new Deutsche Grammophon double album takes us to the Swiss Alpine Festival in 2007 when pianist Martha Argerich had "carte blanche" to devise and preside over an evening of favourite music with some of her closest colleagues.
Michael Church, in his booklet essay, describes it as "a night to remember in Verbier" and, despite the thud of cliche, a sense of occasion, even on CD, is palpable.
Beethoven's Ghost Trio, with Argerich joining violinist Julian Rachlin and cellist Mischa Maisky, is high-tensile - especially in its explosive Allegro vivace e con brio. Later, eerie and unsettling phantoms prowl in the Largo that gives the work its nickname.
Violist Yuri Bashmet may not acquit himself without a few blemishes in Schubert's Arpeggione Sonata but what are minor stumbles in a performance of such glowing intensity? The Russian's pizzicato, the legacy of a score written for an instrument that was a cross between guitar and cello, easily vie with Argerich's sonorous Steinway.
The beauties of Bartok's First Violin Sonata, in which Argerich is paired with Renaud Capucon, are bleaker. An Allegro appassionato certainly earns its titling while the Adagio takes its power from the richness that Bartok found in the folk music around him.
Lang Lang shares the keyboard with Argerich in Schubert's Grand Rondeau, an ironically sunny work from the composer's last months, although musical rewards are greater in Ravel's La Mere l'Oye.
Here, the two explore the wonderment of sleeping beauties, Oriental empresses and enchanted gardens with a winning mix of childlike innocence and capriciousness.
Gabriela Montero joins Argerich in the party-piece of Lutoslawski's Paganini Variations and closes this outing with the genuine article, improvising on Happy Birthday for the young Lily Maisky, including a fetching klezmer turn.
One is grateful to hear Argerich by herself in a dream-laden account of Schumann's Kinderszenen. It may tremble on the brink of self-indulgence, especially in the pedalling department, but this is eminently forgiveable.
Verdict: "There are star turns all around when a legendary pianist takes over an evening at Verbier."