For a composer, the music precedes the words, sometimes replaces them. It is through listening to his musical work that the analyst will be able to penetrate his unconscious, even a posteriori, into this setback in History, this unilateral transfer, this duplication of fictions, that of the creator and that of the psychoanalyst. To illustrate this proposal, we will rely on the works of Hector Berlioz, his musical compositions and in particular that of King Lear, but also his writings, correspondence, memoirs, and literature with his short story Euphonia or the musical city.