Arriving in Europe from Buenos Aires in 1957, Mauricio Kagel soon developed his own subversive and theatrical musical aesthetics. Performed here by the work’s dedicatee, Das Konzert is his typically oblique response to writing a flute concerto, ranging from spectral atmospheres to hectic confrontation. The humor of Pan is clear from the outset, with its invocation and parody of Mozart’s Papageno. The two contrasting versions of Phantasiestück show the composer’s trademark wit at its keenest. The title refers to the influence of Schumann on Kagel.