Isabelle Faust's recording of Bartók's violin concertos marks her long-awaited return to a composer with whose sonatas she was closely associated early in her career. The first concerto was neither performed nor published in Bartók's lifetime, and Faust, meticulous in her preparation as always, examined the drafts and manuscripts before committing it to disc in a performance that is probably the most beautiful and subtly nuanced version available. The same intelligence is very much at work in the second concerto, where she and conductor Daniel Harding opt for the original, orchestra-alone ending rather than the more familiar virtuoso revision that Bartók undertook for the work's creator, Zoltán Székely. Harding, sometimes a variable Bartókian, is clean, committed and incisive here. Make sure you read Faust's own essay in the sleevenotes: she writes about Bartók as persuasively as she plays him.