Among the many myths surrounding Franz Liszt, the fixation on his hands occupies a peculiar place. Described as miraculous, elastic, almost superhuman, they became objects of attention independent from the music itself.

During his lifetime, Liszt’s hands were observed, photographed, sketched, measured. After his death, plaster casts were produced and circulated, preserving gesture rather than sound. Touch replaced listening.

Detached from the body, the hand becomes a relic. No longer an instrument, but evidence — of genius, of proximity, of the desire to archive presence itself.