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The memory of these glorious performances remain in the listener's memory long after the recorded performances have ended.
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It's odd that Bernstein, a champion of tonal modernism, didn't feel closer to Bartok.
In his later career, after the mid-Sixties, he recorded nothing of his music.
These two rollicking recordings from 1959 (Concerto for Orchestra) and 1961 (Music for Strings, Percussion, and Celesta) are more heart-on-sleeve than any other I've heard. sounds glorious and committed; the sonics are only limited in the loudest climaxes, when things get a bit screechy.
The often elusive emotions and cool distancing one feels in the Concerto for Orchestra, usually played for shallow virtuosity, here turn into fiery extroversion, wit, and bumptiousness. Bartok didn't want to be held close to anyone's bosom, but if you want to anyway, this is the performance for you.