It may be said that the “Concert for Prince Eugene” has the composer's cultural and moral preferences stowed away in it with his dedication to them scaled in the title. Bruni Tedeschi, a scholar of history and art, thoroughly Piemontese of a certain period of Savoyan history of European significance, a passionate researcher and historical and art collector, confesses to seeing the figure of Prince Eugene of Savoy Soissons rising to his full glory within these spheres, that of one of the greatest commanders of history, triumphant in Zenta, Turin and Belgrade, fulcrum of the wars of succession in the torturous years of the 17th/18th century in Europe. A statesman of the policy of the balance of power, who was of a balanced nature to the very core, he was interested in quite diverging intellectual, practical and aesthetic fields. He combined the gifts of courage with refinement and modesty, energy and honesty with a loving heart. He also was famous as a patron of art and culture, and in the long period of peace which followed the long period of battles he also initiated the endeavours in the humanities to attain beauty and sublimity, fostering relationships with authors and scientists and collecting pictures and works of art himself. Alberto Bruni Tedeschi sees in the awakening call of Prince Eugene the epitome of the 18th century with respect to political and heroic virtues combined with chivalry and fine qualities almost amounting to a Sun King in Vienna with all the advantages and flaws which led to the French Revolution e.g. to the new century. Hence the artist of today, seeing an ideal goal in such a figure, projects himself into a special level of corresponding feelings in order to express a state of feeling in his works which are not dictated by any previously determined programme nor are they suited to be simple inferences of militaristic intellect or anything similar.

The “Concert for Prince Eugene” is a normal instrumental concert in three movements. the titles of these movements certainly have a flavour of awakening calls: Introduction - marchsong - battle. The musical progression is a closed cogwork of disciplined discourse enriched by the inspirational unity, and if the discourse has a trace of roughness and difficulty then it is merely the general musical quality of this composer, which shows its purest and clearest intellectual relationship application in this composition. Here and there a clear reference to militaristic colouration appears, which, of course, the composer intended as a definite battle echo with a Venetian rennaissance influence, more precisely, a Gabrielan influence. Most clearly presented is the end of the “battle” with the “Prince Eugene Fanfare”, which was played at his appearance almost as the standard of the commander-in-chief leading his advances. It is indeed one of the most beautiful fanfares of the 18th century. It was also adopted by the cavalry (here one should remember that Alberto Bruni Tedeschi was an officer of the cavalry), and finally by the Italian Gendarmerie. The repetition occurs twice at the end of the piece and thus confirms positively and ideallistically the dedicaton.