NEW SOLIDARITY

June 20, 1980

Page 8

Permindex Attacks LaRouche Music Renaissance Program

by Peter Wyer

A production of Igor Stravinsky's cacophony"The Rite of Spring," which was marketed as modern music as part of the same British cultural occupation of America that ushered in the age of rock 'n roll.

A series of slander articles against the presidential campaign of Democratic Party contender Lyndon LaRouche appeared in Los Angeles area press during the two weeks preceding LaRouche's May 31 address to the nation on CBS television and coincided with the candidate's successful tour of the state. When NSIPS reporters queried the journalists involved, including the Long Beach Independent's editor-in-chief, David Levinson, a graduate of the University of Chicago, they were met with the following claim: "Lyndon LaRouche's attacks on the music of Richard Wagner, the chromaticism of

Monteverdi and his defense of the German musicologist Heinrich Schenker prove that he is a fascist." There is strong reason to believe a connection between this spate of slanders and the activities against the LaRouche campaign on the part of the Simon Wiesenthal Holocaust Centeran institution funded by Atlantic Richfield, the main corporate sponsor of the Colorado-based Aspen Institute in Los Angeles during the same period. Rabbi Cooper and others at the Wiesenthal Center freely inform callers that "LaRouche is definitely a fascist and must be stopped at all costs." Such slanders in turn are known to emanate from Permindex, the assassination bureau deployed by Israeli Intelligence in conjunction with the European "black nobility" against American president John F. Kennedy and France's Charles de Gaulle, and are part of an ongoing assassination design on LaRouche by the same network. The Policies Behind Permindex The "Olympian" circles behind Permindex are promoting policies which will shortly reduce the United States to a population of Aquarian "kooks" and leave the Soviet Union uncontested in the international strategic arena. They perceive LaRouche's capacity to consolidate a mass movement and win the Democratic nomination and the U.S. presidency in the immediate weeks ahead as the number one obstacle to this design. Confirming this Olympian faction's worst fears, the LaRouche campaign has begun to conduct an aggressive potent musical intervention in the San Francisco and Los Angeles area, for decades the chief spawning ground for "kook" culture and drug abuse among American youth. Following an April appearance in Los Angeles by soprano Joan Moynagh and concert pianist Bodil Frolund on behalf of the LaRouche campaign, several musical professionals in the area began collaboration with the candidate's project to rebuild America's musical system in the tradition of Mozart and Beethoven. A subsequent musical performance at a May 30 San Francisco town meeting, attended by the candidate, led to an article in the San Francisco Examiner entitled "Bach On Campaign Trail." After reviewing LaRouche's program to return to the economic and monetary policies of Alexander Hamilton and his commitment to the principle that "the source of wealth is the development of our productive powers of labor," the Examiner article concluded by quoting the candidate: "Hence, classical music with its appeal

to higher levels of the mind is integral to [my] campaign as a symbol of what such an endeavor can produce." The Case of Heinrich Schenker A review of the operations against the musicologicalogical tradition of Heinrich Schenker in the postwar period reveals the identity of the networks currently deployed against the LaRouche presidential campaign. Schenker, himself a close associate of the great conductor Wilhelm Furtwngler, was the leader of a heroic but unsuccessful attempt to defend the Neoplatonic musical tradition of Beethoven and Brahms against protofascist cultural movements within and without Germany and Austria prior to World War II. He was at the same time the chief cultural spokesman for those forces in Germany which sought, by way of the Rapallo treaty with the Soviet Union and other initiatives, an alternative to the crushing terms imposed upon Germany by Britain's Versailles Treaty after World War I. Although an ardent German nationalist and systematically flawed by tendencies traceable to 19th century romanticism, Schenker was unequivocally anti-fascist. He not only outspokenly opposed the atonalism of Arnold Schoenberg but also branded Richard Wagner, whose music became the cultural rallying-cry of the Nazi movement, the "single most important reason for the degeneration of music after Brahms." Following Schenker's death in 1935, his manuscripts were destroyed by the Nazis. His wife and daughter died in Auschwitz. His followers, in turn, were forced to either flee Vienna or go into hiding to escape death at the hands of the Nazi SD. In the years immediately following the war, Schenker's leading students, including the musicologists Oswald Jonas, Ernst Oster, and Felix-Eberhard von Cube sought to effect a resurgence of the tradition of Bach, Mozart, and Beethoven through the application of Schenker's pedagogical methodsnot only in Europe, but most importantly in the United States where most of them had emigrated during the war. Correspondence between Jonas and Furtwngler during this period explicitly affirmed this as a shared objective of this entire circle. Such an effort could have established the United States as the principal cultural center for the "German" musical tradition in the postwar period. American youth during the late 1950s and 1960s would have grown up under the inspiration of a new generation of musicians and conductors trained in the tradition of Furtwngler and armed with Schenker's

valuable musicological insights into the compositional method of Bach and Beethoven. Cultural Occupation of America To prevent this, the top levels of British intelligence immediately deployed both in Germany and in the United States. Under direction of the Wilton Park substation of the British Secret Intelligence Service (SIS), the Allied Occupation Forces placed an immediate ban upon the same theoretical pamphlets of Schenker which the Nazis had destroyed. Records of the

Heinrich Schenker, the great musicologist who fought to defend the German musical system built by Bach, Beethoven, and Brahms against destruction by the Nazis.

Vaucher Commission under direct control of the British War Office in the by Wilton Park, slandering Furtwngler as a "Nazi sympathizer." Mead's article was followed in 1947 by an article in the American Musical Review authored by Michael Mann, Thomas Mann's brother, and himself a close associate of the Frankfurt School's T.W. Adorno and of Wilton Park. Mann asserted in the course of a review of Schenker's work that his ideas "could have been written by the Fhrer himself," and included several of Schenker's followers including Felix-Eberhard von Cube in the attack. These slanders were part and parcel of the overall Wilton Park program to brainwash the German people into accepting their own "collective guilt" for

the crimes of the Nazis, in flagrant defiance of the fact that it was Britain which not only played the decisive role in bringing Hitler to power in 1933 but repeatedly intervened to prevent his overthrow prior to the final military defeat of Germany in 1945. The viciousness with which the same slander campaign was propagated in America, not only against Furtwngler but against Oster, Jonas, and others among Schenker's circle, revealed another major motive: the uncontested "cultural occupation" of America in the postwar period by the same culturalpolitical forces which had shaped the fascist movements in Germany, France, and Italy in the prewar period. The circles active against the Schenker tradition in the United States after the war provide to this day an accurate profile of the political control of American culture. These circles and institutions, through their control over the mass media, have systematically shaped the cultural and musical "tastes" of American youth over the last three decades. They created the rock-drug counterculture by means of the infamous MK-Ultra project on the West Coast and elsewhere, a project which marketed rock music and drugs as a single commodity to adolescent victims in the 1960s. Beginning with the Office of War Information's Radio Research Project based at Columbia and Princeton Universities under supervision of the Frankfurt School's T.W. Adorno, what became the "Top 40" radio format for creating popular "hits" was developed with the help of capabilities developed by another Viennese immigrant, Kurt Lewin, at the University of Michigan at Ann Arbor. Out of the University of Chicago, MK-Ultra was spawned under the supervision of University of Chicago president Robert Hutchins. The Veterans Hospital at Palo Alto, California became a major MK-Ultra subcenter under direction of Margaret Mead's husband Gregory Bateson, an associate of the London Tavistock Institute. The "acid-rock" adventures of Ken Kesey and rock group founder Jerry Garcia were immediate results of Bateson's "merry pranks." Working with Bateson were Aldous Huxley, a protege of H.G. Wells under Her Majesty's Secret Intelligence Service before the war, and Christopher Isherwood. Both Huxley and Isherwood were in turn the closest personal associates of the composer Igor Stravinsky, most widely known for his work "The Rite of Spring," a desiccated orgasm of violent discords and tribal rhythms.

In 1947 these University of Chicago and California-based circles founded the Colorado-based Aspen Institute, which became the chief policy think tank controlling the mass media in America in the postwar period. Undermining Schenker's Following While these circles privately encouraged the spread of the "collective guilt" slander against Furtwngler and the Schenker circle during the late 1940s and early 1950s, they publicly posed as "sympathetic colleagues" to key Schenkerians such as Oster and Jonas. Following the engineered rejection of an English translation of Schenker's first major work, done under supervision of Jonas. Elizabeth Mann Borghese was "helpfully" secured by Princeton electronic wizard Milton Babbitt to "smooth out the English." Mann Borghese is the daughter of Thomas Mann, the wife of Giuseppe Borghese, and is a cofounder with Hutchins of the Aspen Institute, and a specialist on the law of the seas. The latter activity brings her in close association with U.S. Naval Intelligence as well as with the leading expert on law of the sea, Major Louis Bloomfield, the high chieftain of Permindex. She collaborated with Hutchins at the Santa Barbara-based Center for the Study of Democratic Institutions and is currently an active member of the procannibalism Club of Rome. Mann Borghese's attempt to completely rewrite and bowdlerize Jonas' edition of Schenker's "Harmony" was only aborted through strenuous and combined efforts on the part of both Jonas and Oster. The pressures of the "collective guilt" slander campaign were sufficient, however, to force Jonas to expurgate all of the passages referencing Schenker's political views from Harmony and other editions edited by Jonas. Meanwhile, the Hollywood-based circle including Stravinsky and other musical anarchists such as Arnold Schoenberg and Darius Milhaud (all staunch opponents of Schenker during his lifetime) together with Thomas Mann became charter trustees and supporters of the Aspen Institute. The Frankfurt School's T.W. Adorno played an important direct role in reassembling this cultural refuge for musical kooks in the postwar period, immediately upon completing his mission with the Radio Research Project on the east coast. It was this circle of "Dark Age" composers, including Roger Sessions, Aaron Copland and others, which worked in tandem to block the postwar publication even of expurgated versions of Schenker's major writings in

English, save for Harmony. Working with them was the musicologist Felix Salzer, a student of Schenker who later hideously perverted Schenker's theory to make it compatible with the willfully incoherent productions of Stravinsky, Schoenberg, et al. As a result of the activities of these musical circles in the United States, under direct policy supervision by the high command of British intelligence, Ernst Oster died in 1977 a psychologically broken man, never having secured the release of Schenker's key writings in this country. When Oster's own translation of Schenker's final work, Free Composition, recently appeared, it contained an introduction by Alan Forte, a Yale-based product of the Columbia-Princeton school of musicology, which included the libelous statement: "If Schenker had lived to witness the 1938 Anschluss, he certainly would have changed his political views"i.e. "Schenker was a Nazi." Similar slanders appear in the writings of Milton Babbitt's protege Charles Rosen and are currently cited as evidence by the slanderers of the LaRouche campaign in California. Not only Oster and the other representatives of the Schenker musicological tradition, but many of the finest musicians and conductors to emigrate to the United States during and after the war have been bludgeoned into silence respecting their principal opposition to the musical chaos of Schoenberg and Stravinsky, by the threat of being subjected to the "collective guilt" slander. Israeli Intelligence (Permindex) operating directly and through its substations in U.S. Naval Intelligence (where the electronic hardware for Babbit's electronic synthesizers was developed as part of the Radio Research Project): the academic centers of Columbia and Princeton Universities in the East and the University of Chicago in the Midwest: the Aspen Institute and the MK-Ultra nests of Hollywood, San Francisco and Santa Barbara these are the control points for the shocking travesty known as "American culture" today. Currently threatened by the potentialities around the LaRouche campaign, will they dare to go public with their renewed allegations concerning the Schenker issue, and risk a full disclosure of the best-guarded secrets of Britain's postwar cultural subversion efforts against the United States and her European allies?