Cover to Waldteufel â"Der Grosse Rausch" seven inch record, Volkways, 1995.
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Cover to Waldteufel â"Der Grosse Rausch" seven inch record, Volkways, 1995.

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-waltzing in a golden ballroom, dress skimming the floor
here beneath a northern star: wedding waltz of akseli and elina-aaltolia
sonne und erde: winter: walzer-bayer
symphonie fantastique: ii. un bal (valse): allegro non troppo-berloiz
divertimento: ii. waltz: allegretto con grazia-bernstein
minute waltz-chopin
the venus waltz-goodwin
boston waltz-gliĂšre
entrâacte valse-hellmesberger jr
merry go round of life-hisaishi
komedianti: waltz-kabalevsky
edelweiss waltz-kostal
la parfum de fleurs-matsushiba
the embassy waltz-previn
waltz suite: happiness-prokofiev
musettaâs waltz-puccini
cinderella waltz-rodgers & hammerstein
the carousel waltz-rodgers & hammerstein
jazz suite no. ii: waltz ii-shostakovich
ballroom waltz-steiner
the blue danube-strauss ii
voices of spring-strauss ii
lagoon waltz-strauss ii
waltz of the flowers-tchaikovsky
the sleeping beauty: valse-tchaikovsky
serenade for strings in c major: walzer-tchaikovsky
les patineurs: waltz-waldteufel
suite for orchestra: waltz-weinberg
Pictured here is Sturmpercht "Geister im Waldgebirg". In my view, it stands among the strongest neofolk releases of the post 2000 era, capturing Alpine traditions and atmosphere like few bands have. The album incorporates poems by several known writers/poets (Hielscher, Trakl, etc) as well as featuring musical contributions from Markus Wolff of Waldteufel, Gerhard of Allerseelen and Sangre Cavallum.
The cover depicts an image of Zapfenmandl (âpinecone manâ). In the book "The Krampus and the Old, Dark Christmas", Al Ridenour explains that a Zapfenmandl âpresence is intended to bestow symbolic protection upon woodcutters and forest workers, and guard their trees from fire, wind, disease, and infestations.â (P. 210)
Above: pages from CD booklet of Waldteufel âHeimliches Deutschlandâ for the song âWodans Wilde Jagdâ. Lyrics originally by poet Theodor Körner written in 1813.
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In his âDeutsche Mythologieâ Jacob Grimm describes the Wild Hunt as âThe natural phenomenon of howling and wind is attributed to Wodanâs Wagon. With noise at night (âŠ) Odin is passing by.â
Wotan would lead a group of supernatural beings, sometimes ancestors or warriors, with great noise in the night sky. The folk would not view it, facedown and hoping for no harm or to be swept away. In parts of Germany and Austria, well into the 1800âs, there were some still frightened of the Wild Hunt. The book The Krampus and the Old, Dark Christmas: Roots and Rebirth of the Folkloric Devil references an 1832 German newspaper which stated âour agrarian laborers (âŠ) were so terrified by the wild hunt they would barely dare go into the fieldsâ.
Interestingly, Frau Perchta - whoâs origin can likely be traced back to pagan goddess tradition (Norns, Frigg) â has even been linked to the Wild Hunt. She lives throughout the centuries in Germanic regional folklore, some which mixed with Catholic faith. Frau Perchta became a kind of folk horror creature, a witch with a sickle, occasionally an iron nose, mostly concerned with house visits and female servants, who she would disembowel or hunt those that displease her. Â Â Â
Image from Waldteufel âDer Grosse Rauschâ 7 inch (1995)

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French neofolk zine Runen volume 1, 1999.Â
There was a small fictional story written by Hermann Löns (1866-1914) called The Red Brook (translated by Markus Wolff in 2001) set during the Saxon wars. The story of the Saxon Wars (which took place 772-804), like most major conflicts, is long and complicated, where the Saxon pagans and rebel Widukind had fought bravely but ultimately succumbed to Charlemagne and his armies. Hermann Löns was extremely critical of historical figure Charlemagne, labeling him the butcher of the Saxons. Charlemagne destroyed the Irminsul and forced the Saxons to convert under the threat of death.Â
Löns had influenced a number of writers throughout the years. One of which is author Ernst JĂŒnger. In the book âErnst JĂŒnger and Germany: Into the Abyss 1914-1945âČ it is stated that "As a writer, Löns can fairly be called the mentor of JĂŒnger's youth" (P.21).  JĂŒnger was especially drawn to the description, photographic like detail in the words of Löns, his stories on the countryside, writings on what Löns perceived as the urban decay and degeneration in city life. It is the sort of mundane experience in the city which led Löns to join WWI at such an advanced age (47). JĂŒnger made several references to Löns in his war time writing âCopse 125âČ.Â