In 1810, Beethoven composed «Für Therese» for Therese Malfatti, a woman he loved — but she did not return his feelings. A simple transcription error later changed the title to «Für Elise», and Therese was erased from history. The piece took on a new identity that Beethoven never intended. This mysterious loss fascinated harpist Kety Fusco. She wanted to give Therese her voice back — not with sweetness, but with raw, distorted sound. Using a classical electroacoustic harp amplified by 47 internal microphones and custom effects, she transformed the piece into a sonic rebellion. Her harp doesn’t accompany — it screams. As if Beethoven himself were crying out: “You didn’t understand. It wasn’t for Elise. It was for Therese.” «Für Therese» becomes an act of resistance — bold, emotional, and unforgettable.