Yuja Wang first came to international attention in 2007 when she stood in for Martha Argerich in Boston. A few months later she made her debut at the Verbier Festival, aged 21. Here it is, one for the ages, despite it being available only to download or stream. She was a phenomenon then. She is a phenomenon now, an extraordinary musician in every way, with an all-embracing artistry that few living pianists can equal: technique, breadth of repertoire, charisma, beauty of tone, agility – Yuja Wang has it all in spades.

It takes courage and confidence – and a great deal more besides – to launch your recital with two ferociously demanding Études by Ligeti. It was also fairly risky as a little-known name to follow that with Liszt’s Sonata, one of the piano’s Everests, a much-played, much-loved score with as many pitfalls as there are opportunities. It’s especially rewarding to hear this work when the purely digital, mechanical challenges become so clearly a secondary consideration to the music-making. This is no full-on we-take-no-prisoners finger-fest – just listen to the way she articulates the opening pages – for Wang is canny enough to keep plenty of powder dry for later on. True, there is one moment in the finale (at 6'18") when she very nearly comes to grief but recovers in an instant, then pushes forwards to the barrage of prestissimo octaves towards the end that reminds one of Horowitz in 1932.

Following that, Yuja Wang gives us Zoltán Kocsis’s transcription (arguably the best of the many available) of Rachmaninov’s Vocalise, which she plays without the two repeats (a good decision, I think). Then more Rachmaninov and the terrifying (for most pianists) arrangement of the Scherzo from Mendelssohn’s incidental music to A Midsummer Night’s Dream, tossed off without breaking sweat, much as Moiseiwitsch famously did in his one-take recording of the work in 1939.

Cziffra’s delirious Bumblebee comes next (c10 million views on YouTube) – a dizzying blur and far more impressive in the steadier tempo taken by its progenitor – then more from Russia in the form of Scriabin’s Second Sonata (Sonata-fantasy). Here Wang captures the wistful, improvisatory first movement wonderfully well and the sinister ferment of its whirlwind Presto successor. What to end with? One of the most physically demanding shorter works in the repertoire, Ravel’s solo arrangement of La valse. The way she slyly leads into the first waltz theme is masterly, as indeed is her pacing of the entire work. By the end, as film of the event shows, she is physically throwing herself at the keyboard, just as the desperate, cataclysmic final pages demand. Utterly thrilling.

Many of us will have in our collections recordings of certain live piano recitals that have achieved legendary status. For this writer, they include Hoffman’s 1936 Casimir Hall, Horowitz’s return to Carnegie Hall and his return to Moscow, and the Carnegie Hall recitals of Emil Gilels and Jorge Bolet. Yuja Wang’s Verbier debut should be placed alongside them.