"Past attempts to pair music with visuals have been critically damned, but the latest endeavor, involving computer-generated abstract imagery, made a deeply promising debut... 

...in tandem with Bach’s Harpsichord Concerto No. 5 Sunday at The Kimmel Center… the visuals formed an organic union with the music."

        David Patrick Stearns, The Philadelphia Inquirer


"A demonstration using Bach’s Harpsichord Concerto in F Minor has a real sense of forward motion in its representation of notes that bend and flow in ribbon-like lines. The upward arc of a line is easy to see developing; the formation of a swirling vortex suggests harmonic tension, a point where voice lines are suspended in a momentary orbit before being released."

        Rebecca Winzenreid, Symphony Magazine


"Visuals risk literalizing music to death and straitjacketing the performers into a pre-established tempo dictated by the succession of images. The look at Sunday's concert, thanks to an Eric Haeker–led creative team, was wholly abstract… images followed conductor Jeri Lynne Johnson's baton, as opposed to leading it."

        David Patrick Stearns, The Philadelphia Inquirer


"The 3-D score visualization program [allows] musicians onstage to control projected images, instead of relying on a technician working from pre-programmed cues. Abstract digital animations are synched to the music—moving forward, slowing down, or sustained with it."

        Rebecca Winzenreid, Symphony Magazine


"That’s one of the triumphs in Haeker’s computer-generated graphics: He can adjust the video’s number of frames per second according to the tempos unfolding during performance."

        David Patrick Stearns, The Philadelphia Inquirer


"The goal is to capture nuances of performance—the stretching of a phrase or the bending of a note—that are a source of emotional expression in live music… allowing viewers to follow how instrument lines move, merge, and chase each other to create layers and texture… [helping] new audiences understand the underlying craftsmanship of a classical work."

        Rebecca Winzenreid, Symphony Magazine