Thanks, Mark - I'd forgotten about Horowitz's cut of that little 2-measure repetition in the cadenza of the first movement.

I must say though that I do not share your dismissal of the Janis performance as "just a very fleet performance". To me, it's considerably more than that, especially with regard to the cultivation of a truly sophisticated tonal balance throughout the work, which not only makes the melodies sing as in few other performances, but also cuts through the often thick textures of Rachmaninoff's writing in this work in an almost miraculous way. Of course, it's too bad about the cuts in the Janis performances (which perhaps contribute to your impression of mere fleetness?). Well, as they say, de gustibus and all that.

BTW, I also prefer the shorter cadenza in the first movement. Not only is it the one Rachmaninoff used himself in his own recording, but the longer cadenza has such thick textures that the music's progress gets bogged down a bit, at least as I hear it - not to mention that, in its "Allegro molto" section, this longer cadenza shares the kind of writing one hears in the cadenza of the First Concerto - as if Rachmaninoff is repeating that same kind of musical gesture a bit too closely in the Third. Give me the shorter, simpler, less thick cadenza in the Third every time! ;-)

And yes, I hope you're correct about the likelihood of a possible Lim recording of all the Rachmaninoff works for piano and orchestra, with a more dynamic conductor on the podium!