"Wer sich selbst und andre kennt, Wird auch hier erkennen: Orient und Okzident sind nicht mehr zu trennen." (Goethe) Liszt's trip to Constantinople in the summer of 1847 is now well known, thanks to several studies based on European and Turkish sources. Géza Dávid, Lajos Gracza and William Wright have recently studied the broad outlines of Liszt's stay in Constantinople, as well as his excursion to Asia. An exhibition and a symposium on “Les Orientales de Liszt” in Istanbul in 2019 has enabled the present author to study hitherto unpublished sources and bring together the elements of Liszt's journey to explain it in the Orientalist context of the 1830s-1840s, but also to see how the composer differentiated himself from Orientalist attitudes of the time. Liszt's Hungarian identity is an essential element in understanding his relationship with “Orient(alism)”, the definition of which, since the work of Edward Saïd, needs to be carefully combined. The 2019 symposium and exhibition were accompanied by the creation of a concert in the form of a “divan” between four European, Turkish and Armenian musicians (piano, cello, qanun and oud). The result was a sonic confrontation of this historical journey with sound aesthetics, and an exploration of Liszt's stay in the world of sound, in a fertile dialogue between East and West, inseparable as they are. Drawing on unpublished sources, including a musical manuscript held in the former Imperial Library of the Sultans in Istanbul, this paper will trace the particularities of Liszt's Orientalism and explain them in the double context of the time: both that of European travelers (orientalist point of view), and, above all, that of Ottoman Westernization (Tanzimat, or reforms). Several Hungarian Rhapsodies, the Grande Paraphrase de la Marche du Sultan and Rhapsody no. 20, known as the “Romanian” one, will enable us to listen to Liszt's music in the light of a social and aesthetic geomusicology that questions the very notion of Orientalism, and Liszt’s originality.