It's true though that Schenker's treatises included plenty of political asides of such an extreme chauvistic character that to call them "quite right wing" is a huge understatement. (It's also true that, as scholarly research has pointed out in recent years, he seems to have expressed similarly extreme views in his private correspondence and other private writings.) Part of this might perhaps be explained as Schenker's awkward overcompensation for what would've been his remarkably humble origins back then (he came from a small village in what was then Austrian Galicia, now in modern Ukraine). Regardless, I think we nowadays have so many sources proving the relevance of melodic reduction/elaboration approaches (some of them quite early indeed, from the 16th-17th centuries) that to tie these analytical approaches polemically to Schenker and his specificities is really quite pointless, perhaps even misleading.
I'm curious what you would suggest to perform a modern analysis of Bach (what the original comment chain on this was about) if not Schenkerian analysis. I didn't see any alternative analysis tools proposed in your post, even though it sounds like you are educated on the subject.
It’s also, interestingly, illustrative of your argument. Musical analysis is necessarily socially contextual and therefore revealing of the author’s values and priorities, and Schenkerian arguments often imply, or directly come with, some really quite right-wing positions. Schenker was very much into motivated reasoning to defend his deep-rooted racism; many Schenkerian analysts have, deliberately or otherwise, wound up following in those footsteps.