In Enjott Schneider's 'Rondo oscuro', an eye-twinkling naive rondo theme leads to more complex intermediate parts in which the soloist is faced with a flute ensemble demanding various degrees of rhythmic freedom or rhythmic involvement of him: In the first interlude, he has to break free from the straitjacket of the rhythmic accompanying canon with a rubato; in the second interlude, he has to juxtapose the fluid surface of the accompanying flute parts with a metrically free cadence; in the third...