"The first movement’s careful sonata form, too, simply provides the framework from which Bartók can strike out on his own."
"Like many other concerti, the opening movement is written in the standard sonata-allegro form, but with considerably more emphasis placed on the exposition."
It seems like non-strict sonata form for both movements. I still generally count quasi-sonata form towards it for example Shostakovich Symphony no. 5 movement 4 which is my favourite movement of that symphony lacks the 2nd theme at the recapitulation but I'm not pedantic enough to exclude it from the sonata form definition (it's listed as an abbreviated sonata form). It really more of the spirit rather than the letter of the law that I found sonata form appealing
Regarding ravel piano concerto in left hand. I probably should have add another criterion that the composition must have a sonata form movement as well. So in a symphony and concerto that has a sonata form movement but you prefer the other movements better. A orchestral work that doesn't even have a sonata form movement at all of course would fulfill the earlier criterion but not exactly be useful to finding a movement of work that goes head to head and compete against a sonata form movement and prevails against it.
Hell Beethoven emperor concerto final movement is a sonata rondo form according to Greenberg lecture (although wiki only called it just a rondo). The b section plays as a contrasting theme and C acts as a development section. It just has the opening theme repeated prior to the development section and the coda is based on the opening rondo theme
I generally count sonata form derivations like double exposition form and sonata rondo form to count toward those criterion
So it seems even more trickier question considering that only work you listed, I only really consider Beethoven final movement quasi-variations of eroica symphony counts