Georg Friedrich Haas: in vain

  • for 24 instruments
  • 2 1 2 1 - 2 0 2 0 - perc(2), hp, acc, pno, sax, vln(3), vla(2), vc(2), cb
  • Duration: 70’
  • Instrumentation details:
    1st flute (+picc)
    2nd flute (+picc
    bass fl)
    1st clarinet in Bb
    2nd clarinet in Bb (+bass cl(Bb))
    soprano saxophone in Bb (+t.sax(Bb))
    1st horn in F
    2nd horn in F
    1st trombone
    2nd trombone
    1st percussion
    2nd percussion
    1st violin
    2nd violin
    3rd violin
    1st viola
    2nd viola
    1st violoncello
    2nd violoncello
  • Composer: Georg Friedrich Haas
  • Table of contents:
    in vain für 24 instruments
  • Dedication: Sylvain Cambreling gewidmet
  • Commission: Kompositionsauftrag des Westdeutschen Rundfunks
  • Remarks: with visual interpretation (lighting design)
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Printed product

Georg Friedrich Haas: in vain for 24 instruments | UE34805

  • Edition type: study score
  • Series: Neue Studienpartituren-Reihe
  • Format: 17.0 × 24.0 cm
  • ISBN: 978-3-7024-6986-3
  • ISMN: 979-0-008-08321-1
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Read an introduction to in vain by  Bernhard Günther.

Sample Pages


  • in vain für 24 instruments



"Haas is certainly escaping the envelope altogether. In Vain takes music to new territories. "In vain is a narrative of oppositions, setting light against darkness, dissonance against pure intervals, modern tuning against natural resonances. It begins with rapid, swirling patterns, like snow in high wind. Toward the end of the opening section, Haas asks that the lights in the hall be gradually turned down, signalling a shift into a different realm: the instruments abandon equal-tempered tuning and follow the overtone series." -- Alex Ross: The Rest Is Noise (music critic, The New Yorker)

"During Georg Friedrich Haas’s In Vain, the listener experiences a heightened state of awareness, becoming acutely attuned to the intricacies of a psychedelically beautiful soundscape that often unfolds in total darkness. -- Vivien Schweitzer, Unearthly Harmonies, Best Heard in the Dark (Critic's Notebook, The New York Times)


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