SOME years ago, and on separate occasions, I bumped into two old chums from university days.

Neither had studied music, although they both played instruments and were very musical. That was over 40 years ago and we had long since gone our separate ways. The addiction to music went with them into their careers.

Again on different occasions I met them separately, emerging from concerts in Glasgow (neither lives in the city) and individually they each made an observation about Glasgow, which was clearly the spiritual heart of their musical obsession. "All I need is here," each remarked, one giving a wide sweep of his arm to indicate the area embracing the Royal Conservatoire and the Royal Concert Hall, down into the Merchant City and the City Hall complex.

That might have been the case 10 years ago, and it's still true to an extent. More than once I have heard the impertinent comment that, while Edinburgh has its annual three-week festival (to say nothing of its regular concerts by the national orchestras), Glasgow continues to dominate the musical horizon, especially with the intensive swathe of activities introduced by Svend Brown, artistic director of the city's concert halls: the saturation festival of Beethoven, two weeks ago, was the latest example.

But I would tell all my old chums that they must keep an eye on burgeoning musical activities beyond Glasgow. There are festival-type occasions with the East Neuk and Lammermuir Festivals making an impact, while James MacMillan's new Cumnock Tryst is the latest addition to the fold. But Perth Concert Hall has established its own identity, characterised not least by its Perth Piano Sundays series, whose second season was launched last weekend by American-born Steven Kovacevich, to be followed by other major figures including Steven Osborne, Llyr Williams, Alasdair Beatson and the underrated Martin Roscoe.

So where else should folk out east look for important, glamorous or vital opportunities to feed the needs of an insatiable appetite for classical music? "On your own turf," I would retort. "Just round the corner, in your own backyard and no further than a tram ride away."

Edinburgh has some problems in venue provision. I refer of course to the Queen's Hall, a grand old lady, I suppose, for morning concerts in the annual festival, but a compromise for the SCO, a great band in an inadequate space and useless acoustic for orchestral music. That's a different can of beans; or is it worms?

What Edinburgh does have is the Usher Hall, and in recent years the city has taken some serious steps forward in the development of its function. Rather than being just the receiving house for Scotland's national orchestras, it has taken to promoting its own international classical season with visiting orchestras, a potent cultural weapon. And it's there to which the eyes of music lovers should be drawn.

Now, this is not a listings section, and you can find it all online or in their brochure; but between now and Christmas, a stream of legendary figures and organisations will grace the hallowed stage. Is there a greater violinist than Pinchas Zukerman? He'll be there with his Ottawa orchestra in 12 days time.

They'll be followed in early November by the fabled St Petersburg Philharmonic (Leningrad Phil as was) with the unique figure of Yuri Temirkanov. He's getting on a bit now, and it's a long time since the orchestra's life-support system (the USSR) was switched off, but there could be a great spark there: Yuri's doing Shostakovich Ten, and he'll have pianist Nikolai Lugansky, much-loved on this turf for his RSNO performances, playing Rachmaninov's Third Piano Concerto. That night could be a squib; but it could be dynamite. There's only one way to find out.

There's much more, as the brochure reveals, but I must admit that I'm tickled to note that at festive time, the season of tat and fluff and all soft stuff, the Usher Hall, on consecutive weeks, has The Sixteen and King's College Choir, Cambridge. That's just class.