At the beginning of the 17th century, the small town of Saverne in eastern France briefly became a major musical centre, thanks to an Austrian prince-bishop. 
By Dominique Jung
Seventeenth-century Europe—particularly the Holy Roman Empire—was undergoing profound transformations. The Protestant Reformation, initiated by Martin Luther in 1517, upended the religious and political order of the Germanic territories. In Alsace, the Free City of Strasbourg adopted Protestant worship in 1521, including at the city’s iconic cathedral (it would take 250 years before Catholic services returned there, in 1681). This radical change created a crisis for Catholic authorities, forcing them to leave the city. They took refuge in two small towns: Molsheim, where the canons of the Grand Chapter settled, and Saverne, about 40 kilometers from Strasbourg, which would become the seat of a Catholic bishopric in exile. It was in this context of religious upheaval that a singular musical episode began—one that would last 18 years and is now completely forgotten.
The small town of Saverne, with barely a thousand residents, was suddenly thrust into the spotlight by the installation of the bishopric and the arrival of a remarkable and unconventional figure: Leopold V of Austria-Tyrol, brother of the Emperor. In 1606, the young Leopold—an archduke of the Habsburg dynasty—was appointed coadjutor bishop and took over the court of Saverne. This marked the beginning of an unprecedented musical golden age for the town, one that would shine until the prince-bishop’s departure eighteen years later, in 1625.
Leopold of Austria: A Patron Prince-Bishop in Saverne
Born in Graz in 1586, Leopold of Austria belonged to the imperial Habsburg family. As the brother of the future Emperor Ferdinand II, he had no real path to the imperial throne. To compensate, he was appointed Bishop of Passau (now in Germany) in 1605, and a year later, coadjutor bishop of Strasbourg. The young prince chose to establish himself in Saverne, where he revitalized the bishopric and its court.
Passionate about early music and want to read this subscriber-only article?
If you are not a subscriber, join the international Total Baroque community. Subscribe here from 5.00€.
I subscribe
If you are already a subscriber, sign in.
I sign in 
You must be logged in to be able to post comments.
Sign in