Itmay be said that the “Concert for Prince Eugene” has the composer's culturaland moral preferences stowed away in it with his dedication to them scaled inthe title. Bruni Tedeschi, a scholar of history and art, thoroughly Piemonteseof a certain period of Savoyan history of European significance, a passionateresearcher and historical and art collector, confesses to seeing the figure ofPrince Eugene of Savoy Soissons rising to his full glory within these spheres,that of one of the greatest commanders of history, triumphant in Zenta, Turinand Belgrade, fulcrum of the wars of succession in the torturous years of the17th/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 quitediverging intellectual, practical and aesthetic fields. He combined the giftsof 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 ofpeace which followed the long period of battles he also initiated theendeavours in the humanities to attain beauty and sublimity, fosteringrelationships with authors and scientists and collecting pictures and works ofart himself. Alberto Bruni Tedeschi sees in the awakening call of Prince Eugenethe epitome of the 18th century with respect to political and heroic virtuescombined with chivalry and fine qualities almost amounting to a Sun King inVienna 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 afigure, projects himself into a special level of corresponding feelings inorder to express a state of feeling in his works which are not dictated by anypreviously determined programme nor are they suited to be simple inferences ofmilitaristic intellect or anything similar.

The“Concert for Prince Eugene” is a normal instrumental concert in threemovements. the titles of these movements certainly have a flavour of awakeningcalls: Introduction - marchsong - battle. The musical progression is a closedcogwork of disciplined discourse enriched by the inspirational unity, and ifthe discourse has a trace of roughness and difficulty then it is merely thegeneral musical quality of this composer, which shows its purest and clearestintellectual relationship application in this composition. Here and there aclear reference to militaristic colouration appears, which, of course, thecomposer intended as a definite battle echo with a Venetian rennaissanceinfluence, more precisely, a Gabrielan influence. Most clearly presented is theend of the “battle” with the “Prince Eugene Fanfare”, which was played at hisappearance 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 wasalso adopted by the cavalry (here one should remember that Alberto BruniTedeschi was an officer of the cavalry), and finally by the ItalianGendarmerie. The repetition occurs twice at the end of the piece and thusconfirms positively and ideallistically the dedicaton.