Abstract: Everything seems to oppose André Gide, a writer of Protestant tradition, and Darius Milhaud, a composer convinced of Jewish beliefs. Indeed, when he plays to the novelist Alissa, the young musician has a feeling that his music does not appeal to the man he considers as his mentor. This article highlights how sensitive Darius Milhaud’s rendering appears in its finer points. Alissa not only relates to the formal aspects of La Porte étroite, but also, to the deeper structures of Gide’s novel.
