Georg Andreas Sorge

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Georg Andreas Sorge (born March 21, 1703 in Mellenbach ; † April 4, 1778 in Lobenstein ) was a German organist , composer and music theorist .

Life

Georg Andreas Sorge had music lessons from 1714 to 1716 with the court organist Kaspar Tischer in Schney ( Upper Franconia ). This was followed by music studies from 1716 to 1721, during which he demonstrated outstanding musical knowledge. Sorges membership in Lorenz Christoph Mizler's Corresponding Society of Musical Sciences , of which he was accepted as the 15th member following Johann Sebastian Bach in 1747, led to several disputes.

The reason was initially a dispute over a new tone system introduced by Georg Philipp Telemann to divide the octave into 55 micro-intervals . Since Telemann had only formulated the basic conditions of his system, the society, which was very committed to mathematical questions, insisted on finding out the exact mathematical calculation from the author. Since Telemann was not prepared to do this and obviously neither knew nor was interested in such calculations, Sorge presented these mathematical definitions of Telemann's system in his writings after a long discussion with the society member Christoph Gottlieb Schröter .

After all, Sorge had already dealt with the “Systema Telemanicum” in his work Vorgemach der Musicalischen Composition in 1745 . Starting from log (½) = 0.3010299.9565, Sorge, referring to the mathematician Johann Christoph Breitfeld, gave the 55th part of this decadic logarithm as 0.00547327265. Sorge had a good relationship with Telemann and used this advantage to strengthen his position vis-à-vis Mizler.

Sorge's qualified writings on the connection between mathematics and music, in particular his work Detailed and Clear Instructions on Rational Calculation , was probably received with great enthusiasm by some interested members of the Society. From 1750 he tried to take the place of Mizler's secretary of the society, but was unable to enforce this concern. Mizler was very angry about Sorge's actions, which resulted in disputes for years. The partnership was considerably weakened as a result and then dissolved from around 1761.

Sorge earned his livelihood by taking on the position of Count Reuss- Plaau court organist in Lobenstein, which he kept from 1721 until his death in 1778.

meaning

Sorge's antechamber musica metallic composition understands the author primarily as a school of improvisation (improvise) for "Clavier students". The term “ compositor extemporaneus ” contained in this title is typical of the time , because the term “composition” was not necessarily defined by the written record of musical thoughts until Beethoven's time . In addition, this work shows the notion of the necessary skills of a piano player, which was still going on in the 18th century. Such a person differs from the “musical quack” primarily in his abilities in figured bass and improvisation.

Sorge's written compositions are of less importance than the writings that deal with mathematical frequency calculations. Here the author recognized the importance of logarithms for the mathematical handling of intervals, in particular for the geometric division of the octave into 12 equal floating semitones ( equal tuning ).

Works

Fonts

  • Genealogia allegorica intervallorum octavae diatonochromaticae: That is: Gender register of the intervals of the diatonic-chromat. Octav ". Hof 1741. Source online
  • “Instructions on the tuning and temperature of the organ works as well as other instruments, but especially the piano. In a conversation between a musico theoreticalico and his scholar ”. Hamburg 1744. Source online
  • “Prepared for the musical composition or: detailed, neat and adequate instructions for the general bass before today's practice, through which a studio musices come to a thorough knowledge of all the principles of conflict and dissonance occurring in the composition and the piano [...] consequently not only learn to play a good piano extemporaneusly as a compositor, but also be able to make important [...] profectus in the composition itself ”. Lobenstein 1745. Source online
  • “Conversation between a musico theoretico and a studioso musices from the Praetorian, Printzische Werkmeisterischen ... temperature, as well as from the new systemate ... Telemanns zur Förder. pure harmony ”. [1748]. Source online .
  • "Detailed and clear instructions for the rational calculation, and the associated measurement and division of the monochord: you convey which one The musical temperature [...] as precisely as the ear can grasp, not just [...] calculate , but also [...] measure [...] out; In addition to a detailed message from the new Telemannic interval system [...] ”. Most praiseworthy 1749. Source online .
  • "Thorough investigation into whether the Schroeterian keyboard temperatures in the third part of the third volume of the Mizleric musical library, pp. 457 and 580, can pass or not ". Lobenstein 1754.
  • “Reliable instruction on how to temper and tune pianos and organs appropriately, along with a copper which represents the measurement and calculation of the temperature, as well as the Telemannic system [...]; at the instigation of Mr. B. Barthold Fritzens [...] to tune the mechanical type published and designed for defense against the same attack ”. Leipzig and Lobenstein 1758. Source online .
  • “Instructions for the imagination, or for the fine art of playing the piano, as well as other instruments, from the head; according to theoretical and practical principles, such as the nature of sound teaches ” […], Lobenstein 1767. Source online .
  • "The master organ builder who is well experienced in arithmetic and measuring art [...]". Lobenstein 1773. Source online .

music

  • Clavier exercise consisting of six sonatinas set according to Italian gusto. Nuremberg around 1736.
  • [Clavier exercise] Second half dozen sonatinas set for exercise in the clavier according to Italian gusto. Nuremberg.
  • [Clavier exercise] Third half dozen sonatinas placed for the keyboard according to Italian taste and dedicated to the excellent German virtuoso Mr. Johann Sebastian Bach . Nuremberg.
  • Clavier exercise keeping the other half dozen [of 4] of 24 melodies, full-voiced a. Praeludiis set according to modern taste by the whole Circulum Modorum Musicorum , which can be found on the organ as well as on the clavicymbal and the like. Having the clavicordio heard with pleasure. Nuremberg.
  • XII sonatas placed in front of the organ and the piano in the new style. Nuremberg around 1745.
  • Sonatinas, fantasies, toccatins and symphonies placed in front of the piano in the newer style. Nuremberg.
  • Op. 1: VI Sonatina per harpsichord solo. Praise stone.
  • BACH - joints .

literature

  • Robert Eitner :  Worry, Georg Andreas . In: Allgemeine Deutsche Biographie (ADB). Volume 34, Duncker & Humblot, Leipzig 1892, pp. 694-697.
  • Hans Rudolf Jung and Hans-Eberhard Dentler: Letters from Lorenz Mizler and contemporaries to Einrad Spieß. In: Studi musicali , 32 (2003), pp. 73–119. (This source book also contains letters of concern.)
  • Hans Rudolf Jung: Georg Andreas Sorge (1703–1778) and the “Society of Musical Sciences”. In: Studi musicali 35 (2006), pp. 363-431.

Individual evidence

  1. ↑ Lutz Felbick : Lorenz Christoph Mizler de Kolof - student of Bach and Pythagorean "Apostle of Wolffian Philosophy" [= University of Music and Theater "Felix Mendelssohn Bartholdy" Leipzig, writings, volume 5], Georg-Olms-Verlag, Hildesheim 2012, ISBN 978-3-487-14675-1 , pp. 177, 278, 280, 297, 300-308, 329, 334, 335, 340, 341, and the like. 349.
  2. ↑ Sorge 1748, p. 54 f. and worry 1754
  3. ↑ Sorge 1745, p. 124.
  4. ↑ Felbick, p. 304.
  5. ^ Source collection: Evidence for the qualities of a piano player according to Andreas Werckmeister 1698/1702 .
  6. ↑ 10th lesson too detailed and clear instructions on rational calculation.

Web links

personal data
SURNAME Worry, Georg Andreas
BRIEF DESCRIPTION German composer and music theorist
DATE OF BIRTH March 21, 1703
PLACE OF BIRTH Mellenbach
DATE OF DEATH April 4, 1778
Place of death Bad Lobenstein