This paper is divided into 7 sections, each discussing several topics.
1. Problem definition. The aim of this paper is to demonstrate that a piano transcription of an orchestral score represents a particular kind of interpretation. Franz Liszt’s score and his piano transcriptions (for one and for two pianos) of the 2nd movement of the Faust Symphony are studied.
2. Textual resources. Description of the three scores analysed in the paper. Its compositional history.
3. Theoretical hypothesis. Not all trascriptions have the same epistemological status. The composer’s transcription as a means of expressing the final image of a musical idea.
4. Analysis of “Gretchen”. Orchestral and piano scores. Catalogue of the differences: pianistic changes, non-structural changes, structural changes.
5. Evaluation of the differences between the three “Gretchen” scores.
6. Further approaches. Directions added to the piano scores. An historic testimony (Lina Ramann)
7. Conclusions. Structural hierarchy of the elements of the composition. Performance directions for conductors and pianists.