Many years later he repeated the performance using two phonographs and spoke of "one of the early Dada obsessions, or interests, namely, the concept of unforeseeability":
That means that every moment events are so freshly
so newly born,
that it has almost no history in the piece itself
but its own actual presence.
Wolpe's distortion can be heard as a attempt to re-create the experience of Beethoven's contemporaries when they first heard the Fifth, to conjure up a time when the work's course was still unforeseeable . "
(from The FIrst Four Notes by Matthew Guerrieri, 2012)