Mats Norrman:

>I could think also that the dissonants in "Die Schoepfung" were easylier
>accepted by the audience as they came in a context (in the work) that
>properly was described through dissonance.

I'm intrigued:  what do you mean by "dissonance" here?.  Do you mean
"dissonance" in the sense of "queer sound" or you're talking about
dissonant intervalls at chords?.  I don't see (or hear) any unaccustomed
treatment of the dissonances (nor "queer sounds") at the beginning of "Die
Schopfung".  I think that the oddity of this piece lies in its tonal and
thematic plan.

Pablo Massa
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