A wonderful book! Prof. Peter Damm

Effectively, the book is a personal reworking of many of the thoughts of Philip Farkas and Arnold Jacobs, perhaps going into even more detail of actual physical process of the basic techniques involved in all good horn playing...
Bravo Nigel! Bob Ashworth, Horn Player 08/2004
Predictably, we are presented with all the appropriate sections: breathing, posture, left and right hand, embouchure, centering the sound, intonation, projection, slurring, articulation, warming up, mouthpiece buzzing, accuracy, practicing, and then some brief words on musicianship, phrasing, rhythm and pulse, concentration and performing...The book will be useful for students and teachers from a conceptual standpoint, easily applied to other exercises or lesson materials...I must also mention the artwork of Napier Dunn. His caricatures (at least one per page) are hilarious!!! Jeffrey Snedeker, The Horn Call 10/2004

What musicians say:
Prof. Helmut Riester, Musikhochschule Dortmund: It's finally done! (Endlich!)
Prof. Peter Kallensee, Musikhochschule Hamburg: This method is definitely worth to add it to the lessons.

„Your studies are great and absolutely fitting the needs of parforce horn players“
(Ilona R., Parforcehorn group)

These little pieces are really great! The composer describes them as: "Ten moody miniatures between high spirits and melancholy which should delight your musical fancies. . . " Hey right! These can be used for lessons or "just for playing. "Jazzala is loosly translated as "here we go" ... I'll use these on my college students, too" (Jeffrey Snedeker, Horn Call 05/09)

Damm provides us with short but helpful bios and descriptions of the pieces' publication histories. All of these pieces are part of the "new" valved horn repertoire that appeared in saion concerts during the 19th century. The original version of the Strauss is interesting, though not too different from the later edition that is more familiar today. The piece by Lorenz is slow and sentimental, yet filled with figures ornamenting the melody. While the range is not extreme (b to g"), it is still fairly tiring. The muted ending adds a very nice programmatic touch. .
The second volume contains pieces written a decade or so later, but of the same expressive style. The range is a bit more for each of these, but the sentiment is equally potent. We really enjoyed all of these pieces for their warmth and lyricism. The editions are clean and easy to read. These pieces were a wonderful, charming surprise, and I heartily recommend them. (Jeffrey Snedeker, Horn Call 03/14)

..wonderful songs... Keith Terrets writing is chilling, the sparkling Arrangements make a difference to many others (Forte 11/2011)

There are many reasons one may wish to play transcriptions of vocal music, and this collection from Musikverlag Bruno Uetz is an especially nice selection... This edition is a unique and practical addition to our repertoire for horn and piano. Buena musical (Virginia Thompson, Horn Call 10/2014)

Here is a useful piece in a useful key, especially as an encore. Monti's famous Czardas has been arranged for virtually every instrument from accordion to zither (Youtube alone will make you a believer). I've played this piece myself several times in a couple of different keys, and this one (concert C minor) is by far the most congenial to the horn. The piano part is nicely crafted, and the edition is clean and easy to read. The middle section (which I fondly call the "underwater section") gets a fun stopped treatment. Otherwise, work up your multiple tonguing and your "ham" content, and enjoy. I know I'll be using this one! (Jeffrey Snedeker, Horn Call 05/2012)

This is a very cute set of 14 variations on the famous melody "Hänschen klein" known in the English-speaking world as "Lightly Row" ... this edition serves several useful purposes (Jeffrey Snedeker, Horn Call 05/09)

This modest collection of six short pieces for horn and organ includes two well-known works by JS Bach (Jesus bleibet meine Freude from BWV 147 and the Air on a G-String from the Suite BWV 1068), one by Telemann (an organ chorale-prelude Komm, heiliger Geist, Herre Gott), an Adagio by Mozart (KV Anh. 94 originally for two clarinets and basset horn), and two pieces by Liszt (the Offertorium from his Coronation Msss and an arrangement of Consolation No. 4, otiginaTly for piano). In two of the works, Bach's Jesus and Telemann's Komm, the horn plays a chorale melody in long notes over the more active organ part, while in the other four, the horn has the primary melody. Despite some faster activity in two of the pieces, all six are essentially slow and contemplative, and would be useful in church services that prefer traditional sacred music. These are lovely pieces with (at times) transcendent beauty, and as such they would also work well as pieces of appropriate contrast in style and color on a recital. The horn can easily become a wonderful extension of the organ sound, and these demonstrate this as well as any other, particularly since the tessitura of the horn is generally pretty high (several a"s and b"s, and one c""). As a result, they could be a little tiring in more sustained passages. Each of these works has appeared in other arrangements, so they will be somewhat (if not obviously) familiar. And, at three Euros per piece, they are a reasonable bargain (Jeffrey Snedeker, Horn Call 5/2012)

I remember very clearly a recital at the 1996 IHS symposium in Eugene, Oregon where Peter Damm played several pieces on piccolo horn (in high f) with organ. The sound was distinctive, because of both the performer and the instrument. The Finger sonata in this edition was a part of that program (l checked!) and both works included here were recorded and released by Damm on the Berlin Classics label some years ago. Originally for recorder, the sonata by Finger has five short, contrasting movements totaling about five minutes, including repeats, written-out in this case with added ornamentation. Generally the horn part stays on or just above the treble clef staff, with one passage ascending to d"'. There are a few octave displacements from the original, but all are
done tastefully. The sonata by Viviani for trumpet in C has been transposed down a fifth for horn (to concert G, horn in D major) so the highest pitch is only d"'. The movement sequence varies from the original, but no harm is done - the combination and sequence makes sense. The range is essentially the same as the Finger sonata, providing another good excuse to work on one's high range or to try out a descant (or piccolo!) horn. Otherwise, the music is Baroque through and through - florid lines in the fast movements, nice arching melodies in the slow ones. The publisher has also included an alternate part for valved trumpet in C (still in concert G) (Jeffrey Snedeker, Horn Call 5/2012)

These duos provide a very useful snapshot of first and second (or high and low) horn playing, with stepwise motion and high tessitura in the first horn, and wider intervals and agile accompaniment in the second... These are great duets for what they represent historically and for their charming musical style.(Jeffrey Snedeker, Horn Call 05/09)

In this charming little edition, Klaus Dietrich presents us with 11 popular tunes by George Gershwin (1898-1937). They are arranged simply, with the horn playing the melodies, and the trombone playing harmony and bass line accompaniments. Each arrangement goes once throug the melody. The horn part itself is very playable, with a relatively low tessitura of g-d''... To me, they would work best in background music settings ... and the horn could easily paired with any bass clef instrument, trombone, cello, bassoon, euphonium, tuba and especially string bass. The best aspect of this edition, however, is that it is a great opportunity to introduce young players to these wonderful tunes, especially if it encourages them to seek out the originals (Jeffrey Snedeker, Horn Call 2/2014)

Appropriate for tone, blend , balance, and intonation work this set of 12 arrangement of songs works well for both pedagogical and performance purposes... Overall, these Lieder are delightful and well-written (Heidi Lucas, Indiana University of Pennsylvania, in Horn Call 5/2015)

Gumbert's students had a major influence in the American school of horn playing: Anton Horner (first horn, Pittsburgh and Philadelphia orchestras), Max Hess (first horn, Cologne, Guerzenich, Boston, and Cincinnati orchestras) and Max Pottag (first horn, Hamburg and Chicago orchestras)...
For these two volumes, Peter Damm selected 34 of Gumbert's original tunes, and added a few original compositions
and arrangements in the same spirit. In many ways, they form one of the most important catalysts for horn ensemble music, including in the US. My students and I played these through and found them thoroughly enjoyable. Anyone who has been a part of a horn club will understand that this is what it is all about - all that are missing are the beverages (Jeffrey Snedeker, Horn Call 05/09)

The melodies are wonderful, the parts are well-written, the workload is divided evenly (though a little top top-heavy - trade parts!) and the overall range (F-g") is congenial. The "Spanish Ständchen" is a spicy treat! Get these for your weekly "horn-meetings" Jeffrey Snedeker in Horn Call 2/2012

My students and I enjoyed reading this collection; the short movements and hunting styles are easy to grasp, and the tunes are relatively easy to play - all open harmonics c-g" (b" in the Haydn) and simple duple and triple rhythms. The Gruyer set also makes a nice self-contained hunting suite on its own. (Jeffrey Snedeker, Horn Call 03/14)

My students and I really enjoyed these pieces. They go together easily - very fun, readyble with nice variety... I heartily recommend these to all horn groups who maintain a hunting horn library - but you will need valves for a couple of them (Jeffrey Snedeker, Horn Call 02/15)

I look forward to more of these valuable additions to our ensemble literature.
Virginia Thompson, West Virginia University (VT) in Horn Call 2/20
If you have players that can handle the ranges, this arrangement will be very enjoyable and satisfying to play. Jeffrey Snedeker in Horn Call 2/2012

I look forward to more of these valuable additions to our ensemble literature.
Virginia Thompson, West Virginia University (VT) in Horn Call 2/20
We also liked this new arrangement of the March…very playable. Both of these pieces lend themselves well to arrangements for ensembles of horn. Thank you! Jeffrey Snedeker in Horn Call 2/2012

One of the most challenging aspects of selecting repertoire for horn choir is the fact that the players are often varied in terms of ability level... Peter Damm's Intermezzo offers a wonderful solution to this problem - the arrangement is largely block scored and divided into two choirs; parts 1-4 would suitably challenge more intermediate level or high school players, while parts 5-9 are a bit more challenging, both in terms of technical demands and notation (the lower parts are in bass clef), and would perhaps be more appropriate for moderately advanced or collegiate level players... Damm's arrangement works well and would be a welcome and versatile addition to any horn choir library (HL in Horn Call 2/2014)

Peter Damm has done it again, this time with a pleasant and playable arrangement of highlights from Gershwin's iconic work.... My college students really enjoyed this arrangement (Jeffrey Snedeker in Horn Call 5/2015)

Peter Damm's edition of this parthia by Johann Matthias Sperger offers a new work to the body of music for less common woodwind chamber groups. Equally useful as both a light concert work or background music at a reception or event, it gives everyone a chance to shine... (HL, Horn Call 2/2014)

This as first relaease published Parthia Bb Major for 8 wind instruments belongs to the typical harmony music, which was used around 1750 courts especially in Austria for presentations,as table music or just for entertainment. Parthia or Partita indicates a Serenade with several movements performed as "Nachtmusik" (Notturno/Nocturno)mostly in open air concerts. Sperger, who comes from the Vienna school, uses in his Parthia the tempi: slow-fast-slow (Minuetto)-fast.

4 very short, contrasting movements (under 2 minutes each) written in 1964 and dedicated to Damm. The harmonic language features 12-tone techniques that do not abandon tonality, and are made comprehensible and interesting through form (i.e., repetition and imitation), as well as through the lighter nature of the bagatelle... I think this unique and charming work could be an especcially appealing, contrasting addition to many recital programs.
The unusuaI instrumentation provides enthusiasts as well as professionals with a fairly "easy-to-contract" chamber group, and would provide students with an accessible introduction to the wonderful world of playing chamber music with strings. (Virginia Thompson, West Virginia University, Horn Call 05/09)

Again an arrangement for the KAMMERHARMONIE Dresden. Due to the poor arrangement done by Wenzel Sedlák, Peter Damm presents his own version after the original score. This sounds better and is closer to the original because written for 10 instruments (with flute/picc. and ob./EH).