The subject of this doctoral dissertation is the issue of creative development of a pianist interpretation in chamber music, with the consideration of various transcriptions. In order to fully cover the subject, the author of the study has made an attempt at systematizing the term transcription, as well as presenting the pedigree of the selected musical pieces, which are parts of works of art, in the background of chamber musical pieces of their composers: Johannes Brahms and Dmitri Shostakovich. This dissertation also covers the area of knowledge about the relationship between the evolution of chamber music with the accompaniment of piano and the development of the piano sound at the turn of the 18th and 19th centuries. The aspect which was undertaken in this study – the pianist interpretation in regard to the changing performance medium in the musical piece – is presented on the sample of substantial transcription, using selected elements of the musical work: dynamics, articulation, agogic and some elements of musical expressions. The analysis of the discussed issue is presented on the basis of stylistically diverse musical pieces: Sonata in E-flat major, op. 120 No. 2 by J. Brahms for clarinet and piano and its transcription for viola and piano, as well as the transcription for violin and historical piano, and Sonata in D minor op. 40 by D. Shostakovich for cello and piano and its transcription for double bass and piano by James Rapport. Due to the need to show the creative role of the pianist in regard to the performance and sound opportunities of the instruments, which co-interpret the chamber musical piece, selections have been made within instrumental duets with the participation of both string and wind instruments. The type of the substantial transcription is used in this work as a means to show the factors contributing to the individualization of the piano playing in chamber music and to present its different faces depending on the characteristics of the chosen instrument of the co-interpreter.