Music Investigation - Ashley Miller

A comparative analysis of two performances of the same work to further investigation

process and knowledge within focus area.

Frederic Chopin’s (1810-1849) Etude in A-flat major (Opus 25, No. 1), composed in 1836 and
published in 1837 has been interpreted differently by many classical musicians since its release. All
variations are different and comply with the elements of music, particularly, in this piece, the use of
tempo, dynamics, timbre (tone quality) and mood. In the comparison between Lang Lang's (1982-)
and Vladimir Horowitz's (1903-1989) rendition, Horowitz's version, obtained from "Horowitz:
Favourite Chopin: (Extended Edition)" released originally on February 24, 2004, Sony, stays
relatively on the beat while prolonging some phrases to emphasise their importance with the
assistance of controlled dynamical use. This creates a thin, muted airy tone and passionate mood for
the etude which is strived for in Chopin's score. By contrast, Lang Lang’s performance “Live In
Vienna (Standard Version)” released on August 23, 2010, Sony, executes the Etude by profoundly
elongating passages under a wide dynamical range which depicts a rather unusual rough tone and
dramatic mood for the piece.

Tempo rubato is a musical term when referring to expressive and rhythmic freedom by slightly
speeding up and then slowing down the tempo of a piece. Rubato is an element used densely in
Chopin's Etude as it helps the melody flow among the brisk broken chords. The use of tempo rubato
between Lang Lang’s and Horowitz's renditions is implemented differently. Horowitz rendition
maintains a rather steady pace throughout the piece and keeps relatively on the beat. Although with
some pullback, Horowitz presents the melody among the allegro-played broken chords with careful
use of legato to assist with the perception of the tempo seeming to be slower then it is. Conversely,
Lang Lang’s use of rubato is dramatically presented throughout the piece. For the majority, Lang
Lang pulls back extensively throughout the entire piece, although, it is not consistent, as he reverts
onto the beat for some passages, particularly in bars 24 - 35 before returning to the tonic in bar 36
for a dramatic effect. The use of rubato from both artists is similar to comparing two different
pieces, as Horowitz's is evenly distributed, whereas Lang lang takes an erratic approach.

The dynamics of a piece refers to the variation in loudness between notes or phrases. Dynamics
contribute to expression in music which can affect a listeners mood. Both Lang Lang’s and
Horowitz's use of dynamics through the Etude is individual and used to their discretion to impact
the audience. Horowitz emphasises on the melody as well as profoundly accenting the counter-
melodies in bars 15-21, which increases the emotional tension for the passionate section to come
from bar 25. On the other hand, although Lang Lang does highlight these hidden melodies, it is not
done as significant as Horowitz. Instead, he concentrates on the main melodic line in the right hand.
Horowitz's placement of crescendos and decrescendos differ from Lang Lang's. Horowitz
crescendos derive heavily from the score, in bars 32-34 he crescendos and decrescendos
passionately before returning to the tonic. Whereas, in comparison to Lang Lang's interpretation, he
crescendos only slightly and softens between each bar taking a less passionate approach before
returning to the tonic. Overall, Horowitz's use of dynamics originates from the score whereas Lang
Lang uniquely personalises his use of dynamics, undertaking a distinctive approach in his
expression of the piece.
 Both renditions of Chopin's Etude use the elements of music, like tempo and dynamics differently
to create a type of tone (timbre), which also influences the audience's mood. Horowitz's on-beat
tempo in combination with his strict use of dynamics, as per the score, creates an airy, thin and rich
tone, like an "aeolian harp", should sound if played by the wind. These use of elements create an
overall sentimental and passionate mood for the audience. Lang lang’s eccentric use of dynamics
and tempo together manipulate the tone into a powerful yet slightly harsh interpretation. Lang
Lang's bold attempts at rendering the piece using the elements of music such as erratic dynamics
and a slower tempo expresses a restless and dramatic mood for the audience, which does not follow
with Chopin's score. Conclusively, this outlines how a simplistic change, in the approach of the use
of the elements of music, can manipulate the quality of sound and shape how the listeners perceive
the music.

Vladimir Horowitz's and Lang Lang's rendition of Frederic Chopin’s Etude in A-flat major do share
some similarities but heavily reflect the elements of music used through their differences. Tempo
rubato and dynamics are thoroughly displayed in this piece which creates a distinct quality of tone
and mood among the listeners from both artists. Horowitz rendition is what Chopin was aiming for,
on the beat, yet, carefully elongated when required, and his use of dynamics is heavily influenced
by the score. Whereas Lang Lang's takes a dramatic approach in his interpretation when using
rubato and dynamics to influence the tone and the audience's mood. The same piece, performed
individually, with two different approaches, by two artists, shows how the use of the elements of
music affects a piece's overall tone and sets a mood for the audience.