Corvus Corax is a German band known for playing medieval music using an abundance of authentic instruments.
Their name is the scientific name for the Common Raven. The band was formed in 1989 by Castus Rabensang, Wim (Venustus) and Meister Selbfried ("Master Selfpeace") in East Germany. The band often uses bagpipesas the solo instrument; their live performances attract attention with the bizarre look of the musicians being reminiscent of ancient Greek myths: half-naked, dressed in unusual clothes, wearing primitive tribal decorations, often tattooed.
Today the band consists of eight members: Ardor vom Venushügel ("Ardor from the pubic mound"), Castus Rabensang ("Castus Ravensong"), Patrick der Kalauer ("Patrick the groaner"), Harmann der Drescher ("Harmann the thresher"), Hatz ("hunt"), Jordon Finus, Teufel ("devil") and Wim (Venustus)
Because medieval music theory was dominated by ecclesiastics, it is often difficult to determine from the extant manuscripts exactly how the secular music of the day sounded. Corvus Corax draws on a number of sources to try to make their music as authentic as possible: they have used documents that "condemn profane music" as an indicator as to what the music might have sounded like, and drawn on nineteenth century scholarly treatises for information (although in many cases these treatises are unreliable, as they impart more nineteenth century interpretations of medieval music than factual information on what the music was like).
But a number of things are known for certain. For example, the profane music of the day was often accompanied by a droning bass tone similar to that generated by thebourdon stop on an organ, which is provided in Corvus Corax's case by the drones on their bagpipes. An inkling as to the harmonies used is found in a song by Walter von der Vogelweide, in which he calls for the song to be played "the old way", meaning harmonising with thirds. At the time, the third was considered an awkward, ugly interval by the sacred musician — like the tritone, or diabolus in musica — but it was a common interval in folk music.
Matters are further complicated by the fact that each minstrel would add his personal interpretation to a piece, and that recorded (i.e. written) versions may differ depending on who did the transcribing, and where. It is on this that Corvus Corax's interpretation hinges: medieval popular music was played more from the heart than the brain, and despite making use of scholarship to give them a grounding, Corvus Corax attempts to maintain the spirited, free manner in which the minstrels themselves would have played the music.
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