A solo album for clarinet inevitably becomes a test on the clarinet, on its expressive power andon the musician’s mastery in playing it. Especially if the musician plays a contemporary repertoirethat is made up of works that follow two different visions. One pays an obsessive attention to the peculiar features of the instrument, the other is apparently more indifferent to the technical limits of execution of the musical score. With his album Gian Maria Matteucci aims to unify the two visions trying to perform the score pointing out the clarinet related features. Adopting this approach of playing highlighting the role of the clarinet, in der Partitur, is for the listener an unusual and moving journey up to the spiral staircase of what the essence of the clarinet is. Let’s analyse in detail all the different stages of the experience we go through listening to Matteucci’s album “Al telaio del tempo”, where the game of implicit and explicit time, of qualitative and quantitative time, of subjective and objective time produces a large amount of moments that make it everlasting.