Abstract: In Gide’s works, the music evocation was used to denounce both those who shared its sensuality as those who refused it. To Gide’mind, Chopin had combined sensuality and precision, reaching so as much classicism as purity. Gide denied this dualism to his own characters, but granted it to his teacher La Perouse for having taught him. Gide strongly required such a dichotomy of performers, and above all, of himself.
