Cortot tends to emphasize more global structures, while Horowitz seems to concentrate more on local features of the score.

Moisewitsch, Novaes, Ortiz, Krust, Schnabel, Katsaris put even more emphasis on global features than Cortot.

References

Beran, J. and Mazzola, G. (1992) Immaculate Concept. SToA 1002.92, Zürich 1992.

Beran, J. and Mazzola, G. (1999a) ‘Analyzing musical structure and performance – a statistical approach.’ Statistical Science, Vol. 14, No. 1, 47–79.

Beran, J. and Mazzola, G. (1999b) Visualizing the relationship between two time series by hierarchical smoothing. Journal of Computational and Graphical Statistics, Vol. 8, No. 2, 213–238.

Beran, J. and Mazzola, G. (2000) Timing Microstructure in Schumann’s “Träumerei” as an Expression of Harmony, Rhythm, and Motivic Structure in Music Performance. To appear in Computers & Mathematics with Applications.

Mazzola, G. Geometrie der Töne. Birkhäuser, Basel et al. 1990.

Mazzola, G. and Beran, J. (1997) Rational composition of performance. In: Regulation of creative processes in music. W. Auhagen, R. Kopiez (eds.), Staatliches Institut für Musikforschung (Berlin) Lang Verlag, Frankfurt/New York.

Mazzola, G. and Zahorka, O. (1993–1995) Geometry and Logic of Musical Performance I, II, III. SNSF Research Reports (469pp.), Universität Zürich, Zürich.

Mazzola, G. and O. Zahorka (1996) RUBATO on the Internet.
http://www.ifi.unizh.ch/groups/mml/musicmedia, Univ. Zürich.