"Odeur": fragrant substance, scent; strange smell

Composing for only one interpreter is, I think, a particularly difficult one.
Listening solo compositions after 1945 often their overloadingness and actionism were noticeable to me; the desire to want to say more than one instrument can do it, does’nt seem to me rarely observably.
In the three-part solo Odeur only the short and moving central section includes eruptions and traditional virtuos elements; it contains the cry, which occasionally is called up in the silent and conquering-the-tone-space frame-parts like an (too early) echo, however toneless, quasi mutely or merely gesticulatorily. To percept above all is the colored tone, the “soaked” sound, is the interior expansion of the instrument clarinet in B.