It is not surprising that Hungary's greatest composer should write a violin concerto whose qualities are unique. A good concerto has, among other obligations, that of displaying the art of the solo performer to the best advantage. This means that, besides lyrical and expressive passages, there must be liberal portions devoted to pyrotechnics. Yet in many otherwise great concerti such sections seem dragged in to show off technical skill alone, and to have no real significance in the musical structure as a whole. Hungary, however, can boast a long-standing and proud tradition of exciting violin playing in which expressive qualities boil over into a flashing prestidigitation which enhances them. The tradition is exemplified in both gipsy and Magyar folk music. Béla Bartók grew up with this music, and he has devoted many years of exploration and study to it throughout the course of his life. His violin concerto is not based on specific folk themes, but it is certainly steeped in the best traditions of Hungarian folk violin playing.