Franz Danzi has gone down in music history and in the repertoire of countless ensembles as an industrious, imaginative supplier of grateful wind quintets. The fact that this segment represents only a fraction of his multifaceted catalogue of works is often overlooked, because he was also one of those figures of the "transition" who do not satisfy the general preference for catchwords. Heir to the "Mannheim" tradition on the one hand, visionary of the emerging Romanticism on the other; Mozart's admirer and Weber's elective relative; obedient court musician and quiet rebel - this results in a mixture that is good for many an anachronistic surprise: how else could anyone have written these classically ornamental Rococo trios, while in Vienna a certain Beethoven was pushing the boundaries of what was possible? Danzi could. And how!