Pharrell Williams has earned his notoriety for being a talented lyricist and maker, yet he’s eminent as an ace at cooperation — apparently dauntless whether he’s structuring frill for Louis Vuitton, making workmanship with Takashi Murakami or blending a hit track for Missy Elliott. For as far back as couple of years, the multi-hyphenate has been working with craftsman Daniel Arsham who, in 2013, made molds of the Casio MT-50 console on which Williams initially started playing music. He pursued that by covering the pop symbol in mortar to make a full-body cast of Williams, which was shown in Galerie Perrotin in Paris in 2014 to check the arrival of his second studio collection.

Williams and Arsham have collaborated by and by for another venture that additionally incorporates a third innovative ability, choreographer Jonah Bokaer, to create a multidisciplinary execution, Rules of the Game, that will fuse move, workmanship and music. The piece, which will have its reality debut May seventeenth at the second yearly SOLUNA International Music and Arts Festival, incorporates a unique score by Williams that will be performed live by the Dallas Symphony Orchestra and led by author David Campbell, who has taken a shot at more than 450 gold and platinum collections, with specialists including Adele, Beck, Jon Bon Jovi and Michael Jackson.

“I was the gnat, bugging Daniel to ask, ‘What can we do now?’ It’s definitely a next step with the work that Daniel and I have done before,” Williams says. “Before it was something that didn’t move. It was beautiful, but it didn’t move. Now, this is a brand-new medium where movement is not only an addition, it’s essential to communicating the point. There are things that are moving. I don’t know, it’s like a whole entire medium moves — the sound moves; the body moves. I feel lucky to be working with such explosive, combustible ideas.”

While the joint effort is still in its initial practice arranges, the music is at present being “deciphered” from Williams’ “demos” into melodic documentation for the ensemble to play. That arrangement will be recorded at the main execution and afterward utilized at future creations as the generation visits far and wide.

“Makes it energizing that the documentation is documentation however the importance is unique,” Williams clarifies. “Things that have been modified on a synthesizer level are presently going to be played physically by an acoustic instrument. Something that may have been played as a synth line, now it will have a particular instrument that coordinates that recurrence. You can have a Moog line or a viola. You can have a 808 bass or a timpani and a cello or upstanding bass. It might have been composed with shake or hip-bounce or New Wave as a main priority, however it’s being played in this instrumental way — it gives you an entire distinctive message. We’re blending the territory to give it another inclination.”

Arsham concurs, including: “I’ve worked with Jonah for a long time, and there will never be been a score that has a beat this way. It’s kind of intriguing to watch him deal with that. You have a score that is extremely unique, however with Pharrell, it moves through ethereal thoughts that seem like contemporary music.”