Where you hear wrongness and an unpleasant arrangement of notes, I hear a work of great ascetic beauty where every statement has been distilled to its most simple and primal expression. Now, I won't deny that there's a certain baffling quality to it, at least at first. It's like he's playing tricks with your mind, he's not giving you what you're expecting when you're expecting it, willfully postponing the reappearance of familiar patterns for a few bars throughout the entire work. There's a kind of playfulness to this game, and that's what drew me to the work initially (this is where I started my foray into atonality). That was before I could unravel all the different voices, put together all the melodic fragments interspersed and understand the rhythmical logic of the work. Once I did, that's when I truly realized that there's something to this music that goes way beyond my initial "well, this is kind of clever" assessment. Quite bluntly, I think the it's a masterpiece and there's very few works out there that feel more "right" to my ears, there's something pure and untainted to this music that I've only been able to hear elsewhere in the works of the great renaissance and early baroque masters.
On the second part of your point, that's definitely an interesting point and I don't disagree completely. I'll have to go into it in more depth at another time though, possibly later today.