Principal publications

Anweisung zur Stimmung und Temperatur sowohl der Orgelwerke, als auch anderer Instrumente, sonderlich aber des Claviers (Hamburg)
Instructions for the tuning and tempering of organs as well as other instruments, but especially keyboards

Gespräch zwischen einem Musico theoretico und einem Studioso musices von der Prätorianischen, Printzischen, Werckmeisterischen, Neihardtischen, und Silbermannischen Temperatur wie auch von dem neuen Systemate Herrn Capellmeister Telemanns, zu Beförderung reiner Harmonie (Lobenstein)
Conversation between a Musico theoretico and a Studioso musices about the temperaments of Pythagoras, Printz, Werckmeister, Neidhardt and Silbermann, as well as the new system of Herr Capellmeister Telemann, in order to produce a pure harmony

Ausführliche und deutliche Anweisung zur Rational-Rechnung, und der damit verknüpfften Ausmessung und Abteilung des Monochords (Lobenstein)
Complete and clear instructions for a rational calculation, and the marking-out and division of a monchord pertaining thereto

Gründliche Untersuchung, ob die … Schröterischen Clavier-Temperaturen für gleichschwebend passieren können oder nicht (Lobenstein)
Fundamental examination as to whether the keyboard temperament of Schröter can serve as equal temperament or not

Georg A. Sorgens … zuverlässige Anweisung Claviere und Orgeln behörig zu temperiren und zu stimmen (Leipzig i Lobenstein)
Georg A. Sorge’s authoritative instructions for correctly tuning and tempering [stringed] keyboard instruments and the organ [a critique of the method of ostensibly tuning equal temperament published by Bartold Fritz in 1757]

Sorge’s publications represent the closing of the era of unequal temperaments. Basically, he recommends equal temperament, and the overall intention of his various publications is to explain why it is the best solution, to describe it mathematically and to explain how to tune it. Nonetheless, he recognized the fact that many musicians preferred to have differences among the various tonalities, and therefore he provided several quasi-equal temperaments which were logical extensions of the principles described by Neidhardt. His exhaustive and detailed discussions of temperament theory and practice, written in the style of a Socratic dialogue between a wise master and young student eager for knowledge, give us invaluable insight into the situation in Germany as musicians struggled with the challenges presented by the use of transposing instruments and the development of more harmonically adventurous styles of composition during the 18th century.