Rachmaninov's piano concerto

[Magnus]

I have listened to the 2nd and the 3rd and I've also seen the movie Shine. I don't remember wo said it in the movie, but someone said that the 3rd was the most difficult piece in the world. Is it? What about the 2nd? Isn't the 2nd as difficult as the 3rd?

[DarkWind]

This has been said to death. It's not true. The third concerto isn't the most difficult piece in the world. In fact, it's not even close. Sorabji's Opus Clavicembalisticum, is in fact, the most difficult piece in the world.

[xvimbi]

This has been said to death. It's not true. The third concerto isn't the most difficult piece in the world. In fact, it's not even close. Sorabji's Opus Clavicembalisticum, is in fact, the most difficult piece in the world.

I just wrote a piece within two minutes that is much more difficult than Sorabji's Opus Clavicembalisticum...


Anyhow, long-time readers of this forum know very well that any piano student with no more than 8 months of playing can easily attack Rach3...

[Goldberg]

Haha, quite true.  

Sorabji's piece Opus Clavicembalisticum (I actually love that piece) is *probably* the hardest piece that people actually DO preform. Hard not only because of the technical difficulties but the sheer length--4 hours--and highly demanding musical interpretation. It's not a Rachmaninoff concerto lol (that is, Sorabji's would be harder to interpret I think). Still, it's a little much to bring into such a discussion because it was mostly inspired by Sorabji's need to create "impossible" music.
For the most difficult piece before the 20th century (but including Rachmaninoff) is actually a collection of pieces: I've read that many college professors agree that the Godowsky-Chopin etudes as a whole are the most technically difficult pieces composed.
I myself like to consider Alkan's Concerto for Solo Piano the most likely candidate, and that alone is many times more difficult than any Rach concerto. I'm actually rather curious to know exactly how these legends came about, about the Rach 3. Was it solely because of Helfgott's hooha?

And, to sum it all up, "most difficult" discussions are, in general, the most useless threads around because opinions on technical difficulty are often personal and change dramatically over time until you just don't even consider it.

[liszmaninopin]

I agree about the pointlessness of "most difficult" discussions.  However, I do find them fun.  Some pieces that are mentioned are truly terrifying...and fun to research.

Actually, if I had to cast a vote for most difficult, I would say it's probably Sorabji's "Sequentia Super Des Irae" or something to that effect.  It's later Sorabji-It looks every bit as difficult as the O.C., but is twice as long.  Needless to say, it's never been performed.  However, some day I want to get the score.  I'm much more fond of late Sorabji than his early stuff, so I think the Sequentia might be a much more interesting work than the O.C.

[liszmaninopin]

sorry, to answer your question about the second vs. the third.  I've played the second, but not the third.  I would definitely consider the third more technically difficult (although the second is by no means easy).

[Magnus]

aaaahhh. I knew it. Of course the technical challenges become personal. I was just speeking in general.

btw. I didn't find Sorabji's piece Opus Clavicembalisticum on kazaa  :-/

[DarkWind]

aaaahhh. I knew it. Of course the technical challenges become personal. I was just speeking in general.

btw. I didn't find Sorabji's piece Opus Clavicembalisticum on kazaa  :-/

I'm sure just about no one knows who he is besides us and a few others out there. You know something, I actually like Sorabji's music. His sonata, the one that can be played by only one person, is actually pretty interesting. If anything, he uses unique rythms.

[maxy]

ok... just get the score and try it!
It is extremely hard, but it is piano music...
It is considered the hardest "standard" concerto.
There is much harder stuff out there. I am not sure it can still be called piano music but it exists.

Did someone play Bartok 2 and Rach 3 around?
I would like to know: is Rach 3 harder than Bartok 2?  

[Spatula]

Haha, quite true.  

Sorabji's piece Opus Clavicembalisticum (I actually love that piece) is *probably* the hardest piece that people actually DO preform. Hard not only because of the technical difficulties but the sheer length--4 hours--and highly demanding musical interpretation. It's not a Rachmaninoff concerto lol (that is, Sorabji's would be harder to interpret I think). Still, it's a little much to bring into such a discussion because it was mostly inspired by Sorabji's need to create "impossible" music.
For the most difficult piece before the 20th century (but including Rachmaninoff) is actually a collection of pieces: I've read that many college professors agree that the Godowsky-Chopin etudes as a whole are the most technically difficult pieces composed.
I myself like to consider Alkan's Concerto for Solo Piano the most likely candidate, and that alone is many times more difficult than any Rach concerto. I'm actually rather curious to know exactly how these legends came about, about the Rach 3. Was it solely because of Helfgott's hooha?

And, to sum it all up, "most difficult" discussions are, in general, the most useless threads around because opinions on technical difficulty are often personal and change dramatically over time until you just don't even consider it.

Just like what Bernhard said: "One word: Shine"

[Spatula]

What nationality is Sorabji? Just curious because his name looks so exotic and kinda arabic.  

And this Opus Clavicembalisticum I see in this thread a lot, just by the name it looks like something comparable to Mahler's Symphony Nr 2.

Again I'm just looking and inferencing from the name, so I might be 10000 miles or km off of the truth of this opus

[Spatula]

I agree about the pointlessness of "most difficult" discussions.  However, I do find them fun.  Some pieces that are mentioned are truly terrifying...and fun to research.

Actually, if I had to cast a vote for most difficult, I would say it's probably Sorabji's "Sequentia Super Des Irae" or something to that effect.  It's later Sorabji-It looks every bit as difficult as the O.C., but is twice as long.  Needless to say, it's never been performed.  However, some day I want to get the score.  I'm much more fond of late Sorabji than his early stuff, so I think the Sequentia might be a much more interesting work than the O.C.

Okay let me get the "time math" right.  If the OC is supposidly 4 hours long, then this Sequentia is EIGHT FREAKING HOURS LONG?  I'm glad the world is more sane espeically the pianists who'd not touch that piece.  An 8 hour long piece is the epitome of insanity.

Even a 50 minute piece is rather draining to the listener, lest be the conductor or musicians.  

[liszmaninopin]

Sorabji is a British composer.  His given name was Leon Dudley if I recall, but he changed it to Kaikhosru Shapurji Sorabji in order to reflect his ancestry.

You have it right, that Sequentia is thought to be about 8 hours long.  I thought I had read that there was a pianist out there who was working on it.  I only heard mention, though, so I can't confirm it.

[Medtner]

Sorabji's mother was half Sicilian, half Spanish, and his father of Persian ancestry. You'll find various pieces of Sorabji's reflecting both his parents' ancestry. He's most well-known in Britain as a critic (quite sharp-tongued I might say), but he also criticised other critics, the ones who couldn't play, as he himself could play anything in the repertoire. He stopped performing at a young age and became rather recluse about his music until he died about 15 years ago. He spent most of his life writing for periodicals/magazines and composing.

Now, my original response was going to be the following:

I've sight-read through Alkan's concerto and didn't find it that challenging. In fact, I had no intention to sight-read all the way through, it took a long time as I wasn't doing it anywhere close to speed, but I got caught up in the melodies, it's quite appealing, and the first time I'd heard its sounds. It's quite straightforward. Yes, there are tricky parts, but I wouldn't say as tricky as the Rach 3, such as that 2nd movement opening. I intend to learn the Alkan concerto later this year.

A pre-1900 concerto of epic proportions, I believe, to be the Adolf von Henselt concerto in F minor Op. 16, not in size, but it's just a warhorse of a concerto. This has to just about top them all in difficulty. By the way, if you invert the first movement theme, you get the theme in Rachmaninov's Prelude in C# minor.

Kolya

[liszmaninopin]

I know that this is getting completely off topic, but here is a link to a pdf file of Michael Finnissy's "Elephant."

enjoy:

https://bmic.co.uk/collection/viewscore.asp?id=33386

[Magnus]

I know that this is getting completely off topic, but here is a link to a pdf file of Michael Finnissy's "Elephant."

enjoy:

https://bmic.co.uk/collection/viewscore.asp?id=33386

Liztmaninopin: aaahhh. Terrible to see those notes  

[aki]

People at the gamingforce forum kept telling me that Rach 3 concerto is too hard for me.  They tell me it's impossible to play it, and that has really discouraged me from learning it.  I've been playing the piano for 9 years now...and I just finished my ARCT Performers exam.  

[bernhard]

People at the gamingforce forum kept telling me that Rach 3 concerto is too hard for me.  They tell me it's impossible to play it, and that has really discouraged me from learning it.  I've been playing the piano for 9 years now...and I just finished my ARCT Performers exam.  

Here we go again.

I usually stay clear of this sort of posts, and what I am about to say, Aki, I say in a spirit of friendship and helpfulness. It is also not directed at you personally but to all the countless people who asked the same question over and over again.

1.      Why do you want to play this piece? And why a piece that will need a whole orchestra to accompany you? Let us ignore for the moment the possibility/impossibility of the piece and just consider the logistics of getting an orchestra to accompany you. Are you saying that you want to devote a substantial amount of your life practising/playing a piece that you will only be able to perform under incredibly auspicious circumstances – which means rarely or never? Why not go for the piano solo repertory. At lest you can have the piano whenever you need.

2.      You say that people in another forum told you that it was impossible. But how can anyone tell what is possible or impossible without seeing you play, without seeing how you learn a piece (are you an efficient learner/practitioner?), without having experienced first hand your physical and mental weaknesses and strengths? This seems completely obvious to me. We are not the best people for you to ask this question. Which leads me to:

3.      Why are you asking us? And why should our answer be it positive or negative be of any importance? Another FAQ here is “what piece should I learn next?” Although I have posted list after list of repertory in reply to this sort of question, the question is absurd. Ultimately it will depend on the taste of the questioner. Only the questioner will know if he likes or does not like the piece, so why is s/he asking me? Likewise, only you (and possibly your teacher) can answer the question of possibility or impossibility. No one here knows you/your potential well enough to answer this question in any helpful way, and therefore whatever answer you get is pretty much useless.

4.      Do you want to play this piece? Go ahead and do it for crying out loud! You will pretty soon figure out if it is possible or impossible. If it turns out to be impossible, your job is to figure out how to make impossible into easy. This is the ultimate goal of practice. If you cannot figure this out, come back with specific, intelligent questions, and who knows, we may be able to help you. Even better, ask your teacher, who can demonstrate to you and guide you with a hands on approach through this process of turning impossible into easy.

5. You say you have been playing the piano for nine years. Now I met a guy once who had done some karate when he was 15 years old. He did for a year, achieved a green belt and then dropped it. (karate belts in progressive order: white – yellow – orange – green – purple – brown – black). When he was 26 he came back to it and stuck with it for two years and manage to get to purple belt. Then he got married hade kids and dropped it. In his 40s he decided he needed some exercise and enrolled in a club which I happen to attend. He entered the training hall with a brown belt (he thought he deserved it) and told people he had been doing karate for over 25 years. We found this interesting, since 25 years is a pretty long time to still be a brown belt (anyone practising reguraly should get his black belt in 3 – 5 years). So we watched as he joined us. He was puffing and panting after 5 minutes of warmup. His flexibility was nil. When sparring he was being beaten by white belts. Slowly the true story came up.

What is the point of this little story? The point is, saying that you have trained for 25 years, or putting a brown belt around your belly are credentials, but unless they are backed up by real skills, they are worth exactly zilch. Who cares for how long you have been playing the piano, or what grades you have achieved? The only thing that matters is what you are capable of doing once you sit at the piano. And we cannot judge this.

Now, whenever I see this Rach 3 question again, I can direct the questioner to this thread!

Best wishes,
Bernhard.

[Spatula]

Here we go again.

Best wishes,
Bernhard.

Bernhard lays down the law

[larse]

Wow. It's incredible that there can be so much fuss about a piano concerto. Hey, Bernard, you think I'm good enhough to play it? I'm 12 and have just finished Rondo alla Turca.

[Rob47]

Im trying it for a concerto competition but im thinking of putting it down and starting Rach 4 instead.  Rach 3 doesn't affect anyone anymore.  except page 79.

your friend

Rob

sorry for the mindless concerto babble.   :-/

[liszmaninopin]

what's on page 79?

[Rob47]

The ending of the concerto.

What a great ending!

[Spatula]

Im trying it for a concerto competition but im thinking of putting it down and starting Rach 4 instead.  Rach 3 doesn't affect anyone anymore.  except page 79.

your friend

Rob

sorry for the mindless concerto babble.   :-/

How about R1 or the Paganini Variations? Those, especially Rach 1, I find are underplayed and would ironically put a fresh face on performances again.

The Pag Variations I don't know how often they're performed but I know for sure that Grieg's A Min concerto is so OVERPLAYED! ( but again at the same time I'm learning that one...heheheeheh  )

[Spatula]

Wow. It's incredible that there can be so much fuss about a piano concerto. Hey, Bernard, you think I'm good enhough to play it? I'm 12 and have just finished Rondo alla Turca.

BUT OF COURSE! Every 12 year old knows how to do da Rach 3 right?! of course I'm right!!  

Spatula snickers to himself  

[aki]

yea, right now, I have the Rach 1 and Rach 3 concerto in mind.  I'm still not sure which one I should learn... I think I need more time to think about it.

the reason why I'm asking questions like "do you think I can play this" and blah blah blah, is because I don't want to ask my teacher for the piece and have her say that I'm not ready for it or it's too hard for me.  It's too embarassing...well at least for me.

[bernhard]

yea, right now, I have the Rach 1 and Rach 3 concerto in mind.  I'm still not sure which one I should learn... I think I need more time to think about it.

the reason why I'm asking questions like "do you think I can play this" and blah blah blah, is because I don't want to ask my teacher for the piece and have her say that I'm not ready for it or it's too hard for me.  It's too embarassing...well at least for me.

Ok.

Here is what I don’t understand.

Whatever your teacher say, or whatever we say, why should that stop you from playing something you love?

Or putting it another way, how exactly is your teacher going to stop you, unless s/he lives with you 24 hours a day and has a gun?

Now here is a true story.

Once upon a time I was introduced to a Japanese guy who was doing a post-graduate course in Economy. Having always been interested in Japanese culture (and especially food) we soon struck a friendship. He then told me that before going into economy he was apprenticed to a famous Japanese cook. This interested me greatly, so I asked for more details. That’s what he told me:

“Learning how to cook in Japan is traditional stuff. You must apprentice yourself to a chef and then you must follow his instructions to the letter. He pretty much takes over your life. It is also very difficult to be accepted as an apprentice. But my father had connections, so I was accepted. I was overjoyed, but my happiness didn’t last for long. The chef had a big restaurant with some 20 or so assistant chefs. He ruled his kitchen with an iron fist and everyone had to jump at his orders. In the first day, he gave me a bowl of rice and told me to wash it, which I did. He looked intently and criticised my rice washing. He showed me how he wanted it: I must gently stir the rice with my hands in an anticlockwise motion three times. Then I was to repeat the process three times. He explained that the rice plant grows in a clockwise motion and it was important – out of compassion for the rice grains – to give them a glimpse of the life they would be missing by feeding us. He also instructed me to say a little prayer of thanks to the rice while washing it – he said that this would guarantee the rice’s goodwill, and this way the rice would be more inclined to nourish and provide health instead of causing harm to the people eating it. I listened to all this with a certain disbelief, but I did as the chef asked anyway. However – I am ashamed to say – when the chef was not looking I just could not be bothered and I just washed the rice in any way I fancied.

For the first month, that was what I did. I sat in that busy kitchen and washed rice. If the chef was looking at me I would wash it according to his instructions. Otherwise I just let laziness get the better of me. He never said much, he just looked intently at me from time to time and concentrated most of his efforts in running his very busy kitchen.

For the second month, I continued washing rice. And for the third month, and for the fourth month. In fact this went on for five years. I am not joking. For five years all I was allowed to do in the kitchen was to wash rice. I was at the end of my tether, and I seriously considered giving it all up – but I kept going mostly on account of all the time I had invested and on account of my family’s disappointment if I gave up.

I was at my lowest when, after five years, the chef told me: “Today you are not going to wash the rice: today you are going to cook the rice!” I was overjoyed. I was finally going to do some cooking! So I enthusiastically proceeded to cook the rice.

I must have done something wrong, although I do not know to this day what it was. The chef – who was famous for his violent temper if something did not go according to his instructions – shouted at me and as I looked at him startled, he threw at me a wok full of boiling oil. Fortunately I did not get seriously burnt, but after the mayhem in the kitchen subsided, I decided that that was it, I gave up my apprenticeship enrolled at the local university and became an economist instead.”

So what do you think of this story?

I will give you my comments once you had some time to reflect on it.

Best wishes,
Bernhard.

[aki]

Thanks Bernhard for replying and for the story.  I understand what you mean, but my problem now is if I learn it even if my teacher doesn't want me to, then who is going to teach me how to play it, well not how to play the notes, but like I need somebody to tell me what I'm doing wrong.

[wintervind]

Wow! Crazy story....
Definately relates to any apprentice/teacher relationship. Thanks for sharing!

[bernhard]

When my friend first told me this story I was very sympathetic towards him and his ordeal at the hands of the mad chef.

However the more I thought about it, the more I thought that the chef was right after all.

I considered my friend’s attitude: He was only following the chef’s instructions when the chef was looking. Otherwise he did whatever he pleased. How many piano students have the same attitude? They are taught by their teachers how to practise correctly, and why, and yet when left to their own devices they practise in any way they please.

He was doing his appointed task begrudgingly. It never occurred to him that there was more to washing rice, than simply washing rice. He never wondered why the chef put him to wash rice in the first place.

So here is my interpretation.

The chef is busy running a restaurant. He cannot spoon feed the novice. In fact he must have the novice out of the way. So he tells him to wash rice. Now the student is doing something useful and at the same time, because it is a repetitive chore, his mind is free to observe what is going on in the kitchen.

If I was washing rice in one of the best restaurants in Japan I would be watching like a hawk all of the chef and assistant chefs movements. I would get home and write down everything I had noticed. I would copy out recipes. The chef kindly gave me five years to do that! Such a kitchen would be off limits for anyone (since cooking secrets are carefully guarded) and yet, the chef opened it all for his student to see. The more I think about it, the more I am impressed with the chef’s generosity. After one year (or even less) time washing rice and observing, I would certainly feel confident enough to start trying to copy the dishes at home. Inviting people over for dinner parties, and asking their opinion.

I would be trying to figure out what I did wrong, and observe some more. I could easily do that, since all I had to do was wash rice. I would be mingling with the assistants and asking questions at a time when it would be appropriate to do so (not at the busiest time, for sure).

Yet, my friend just stood there washing rice, looking miserable and mumbling that he never had a chance to cook. Where was his initiative?

During these five years, the chef was certainly observing the student’s behaviour. “When would he catch up?”, the chef must have though to himself many times.

Now, does it not strike you as absurd that after five years sitting in a famous chef’s kitchen you have not even learned how to cook rice properly? I am afraid that I am with the chef all the way here. Boiling oil is the only appropriate answer!

Now you have been learning the piano for 9 years. What does that tell you? If after nine years you cannot take a piece of music – any piece – and figure out how to play it by yourself, what does that tell you about all the time you spent learning the piano? Have you just sat there in the corner washing rice and not learning anything? If so, then you are certainly not ready for Rach 1, Rach 3 or anything else. I would watch out for that wok of boiling oil.

So, get out there and do some cooking!

Best wishes,
Bernhard.

[aki]

WOW Bernhard!  Thank you so much for the story.  I learned so much from it.  From now on, I won't ask should I be learning this and learning that.  I have made up my mind that I will learning the Rachmaninov concerto for sure(either the first or the third, I still have to decide).  

Now I have a question about the 1st and 3rd concertos.  I have a small hand, like I can stretch about a 9th, and I know most of Rachmaninov's music requires a big hand to play.  Which of the concertos does not require a big hand?

[Rob47]

neither...they're both by Rachmaninoff.  

But don't let it discourage you, lots of pianists with smaller hands play Rach's music...you can too!

your friend

Rob

[Spatula]

My God Bernhard!  I swear that you MUST write a book about your thoughts and philosophies and the meaning of your life.  ( well okay we can go easy on that)

Where did you meet this Japanese friend?
In your home country, in Ni-hon, at the airport, in a bar?

where where where?

By the way, if you're married, you must probably already have a hot wife and happy marriage.  But that's as far as I'll say and I'll kindly shut my pie hole.

[Spatula]

Ewwww an economist.

I did two years of studying that crap and supply and demand and oh god I'd rather study accounting.

Which is why I will pursue accouting, and lead a prospurous, wealth, luxurious, life, though very boring.

[bernhard]

Where did you meet this Japanese friend?
In your home country, in Ni-hon, at the airport, in a bar?

where where where?

In the UK, he had come all the way from Ni-hon to do a post-graduate course. This was many years ago, at a time when tofu was basically unknown in the West. Since I was known for my interest in the East, his professor introduced us. He was overwhelmed with gratitude that I showed him where to buy tofu
, wakame and shoyu, and so he had a lifelong debt (the Japanese call it "giri") which he eventually paid - but that is another story.

Best wishes,
Bernhard.

[Spatula]

sou desu neh?

I'm very impressed!
Well now I know you live in the UK.  
I believe my piano teacher, a very forward and inspirational teacher, was from there too.

[mozartgonebad]

I'm Japanese, lives in the US...
Japanese food is good!!!
but I've never known that chef's assistants have to wash rice for 5 years!!!!
This story was a very good analogy to piano practice, it has opened my eyes...
OBSERVE!!!  

[RachOn]

I'm also tackling Rachmaninoff's 3rd Concerto, I've always thought it was lovely (Yes even before I heard of Shine  ) but for some reason never thought to try it.  I guess the idea of its difficulty scared me.  But one day I decided to buy the score and give it a shot.  Anyway, what Bernhard said is the best advice I've ever heard someone give someone about the piano.  When it comes right down to it, anyone can play anything, I think: the human life span is a long, long time, long enough to play pretty much anything.  Its all a matter of commitment.  Now, in terms of impossibility, I think some goals are unattainable IF and ony if you put a time constraint on it.  "I wanna play the Rach 3 within a year" for example, might be impossible given our daily schedules and technical abilities.  But if your goal is to play it, someday, then I say keep working at it, and I imagine you'll get it, just as hopefully I will.

[f0bul0us]

Anyhow, long-time readers of this forum know very well that any piano student with no more than 8 months of playing can easily attack Rach3...

I almost missed the sarcasm there! Anyway, it's because of noobies who make me want to cry. Waaaaaah!

[Medtner]

This has been bothering me for a long time, because I want a recording or would like to see it performed again...

On page 67 of the Rach 3, do you or anybody you know of play the Ossia double-note run up the piano? If you know of a recording, please let me know.
I do have one on cassette from a friend's concert (I just put the section in MP3 to share with you: https://www.glossika.com/en/www-img/rach3_3ossia.mp3 the recording starts a page 1/2 before the ossia), but I wanted to get a professional recording on CD and I don't know of anybody who does it...

Also, you ought to consider playing the Henselt Concerto, it's really fabulous! Here's the piano opening:

Here's a sound clip of it (about 1 minute): https://www.glossika.com/en/www-img/Henseltcon_1a.mp3

[Spatula]

This has been bothering me for a long time, because I want a recording or would like to see it performed again...

On page 67 of the Rach 3, do you or anybody you know of play the Ossia double-note run up the piano? If you know of a recording, please let me know.
I do have one on cassette from a friend's concert (I just put the section in MP3 to share with you: https://www.glossika.com/en/www-img/rach3_3ossia.mp3 the recording starts a page 1/2 before the ossia), but I wanted to get a professional recording on CD and I don't know of anybody who does it...

Also, you ought to consider playing the Henselt Concerto, it's really fabulous! Here's the piano opening:

Here's a sound clip of it (about 1 minute): https://www.glossika.com/en/www-img/Henseltcon_1a.mp3

What? I've never heard that ossia before! Even by horowitz! The only real variation between pianists is that cadenza.  wait lemme see my rach 3 score (surprised I have one? hehehe )

[aki]

Is that cadenza from the 3rd mvt?

[brewtality]

This has been bothering me for a long time, because I want a recording or would like to see it performed again...

On page 67 of the Rach 3, do you or anybody you know of play the Ossia double-note run up the piano? If you know of a recording, please let me know.
I do have one on cassette from a friend's concert (I just put the section in MP3 to share with you: https://www.glossika.com/en/www-img/rach3_3ossia.mp3 the recording starts a page 1/2 before the ossia), but I wanted to get a professional recording on CD and I don't know of anybody who does it...

unless im mistaken Evgeny Kissin plays it:
https://gmlile.brinkster.net/rach/kissinossia.mp3

[Spatula]

This has been bothering me for a long time, because I want a recording or would like to see it performed again...



On page 67 of the Rach 3, do you or anybody you know of play the Ossia double-note run up the piano? If you know of a recording, please let me know.
I do have one on cassette from a friend's concert (I just put the section in MP3 to share with you: https://www.glossika.com/en/www-img/rach3_3ossia.mp3 the recording starts a page 1/2 before the ossia), but I wanted to get a professional recording on CD and I don't know of anybody who does it...

unless im mistaken Evgeny Kissin plays it:
https://gmlile.brinkster.net/rach/kissinossia.mp3

No, I have the Kissin recording and there's nothing like that in the 3rd movement.  The whole concerto is 76 pages and the 67th page is definately part of the 3rd movement.