Up to the year 1920 Eduard Künneke’s works were indistinguishable, in tone and setting, from those of the Viennese tradition. However, with Der Vetter aus Dingsda, Op. 13 (‘The Cousin from Nowhere’, Berlin, 1921) he had his first resounding success, also due to the dance music he inserted, and the modern orchestration. For the first time he introduced saxophone, celesta and banjo in operettas. Writing in a late-Romantic and exotic orchestration of popular impact, Künneke proved also to be a born melodist, and the Batavia Fox-Trot is a good example of the catchiness of his music.
– Mauro Piccinini