Saradzhev was engaged in writing from childhood and resisted, when even eminent

composers tried to teach him. He believed that the theory of bell music is not
based on notes, but on combinations of individual sound atmospheres, and therefore
has nothing to do with the rules of ordinary music. Here are some names of his
children's symphonies: "Sadness", "Romance without Words", "Gypsy", "Melancholic
Passage", "Meditation" (at 12 years old!), "Evening Melody", "Fantasy", "Do not
Forget Me" .

So he recalls the process of creating the first symphony:

Then Saradzhev distinguished each of the 4000 Moscow bells. For 317 of the largest
of them he made musical notations, which he called the drawings of the "sound
tree". So he imagined the subtlest differences of bell sounds - a lot of twigs and
branches, which, in turn, are divided.

But the bell ringer had a big problem - there was nowhere to play. Sometimes, when
traveling in trams, he pulled the cord of a tram call and urged passengers to enjoy
a wonderful sound, which led them and the conductor almost to a nervous tic. Real
bells were only in churches, and you could call only during the service. When they
heard about Saradzhev, they began to invite him to the services, although his play
was very different from the church one. He had fans. Among them were famous
musicians, who after his "concerts" began to talk about a new direction in music.
The services were not frequent, and Sarajev began to dream about his concert
belfry. But at this time, religion was actively etched out of the people.
In the mid-1920s, anti-religious work began in the USSR. The clergy were deprived
of their status, religion was ridiculed and forbidden, churches were destroyed,
bells were broken, and bells were officially banned. It's terrible to imagine what
Saradzhev felt when he slowly lost what he loved with all his heart. He wrote with
the other musicians asking the authorities to keep at least the most unique bells,
but "did not react at the top".
In 1929 the American millionaire Charles Crane, a passionate admirer of Russian
culture, who had bad relations with the leadership of the USSR, bought a bell from
the belfry of the Danilovsky Monastery with the help of archaeologist Thomas
Whittemore. Unique bells had to be taken to Harvard, and Saradzheva was invited to
manage the institute's bell tower for a year. It would seem that the dream of a
bell ringer came true - he had that very concert belfry. But, alas, Harvard
Saradzheva also did not understand.

Shortly after arriving at Harvard, the system of working with the bells and the
musical outlook of Saradzhev entered into conflict with the opinion of the
institute's leadership. The bell-ringer wanted to create, plunge into the frenzied
beauty of musical colors and patterns, but even the students began to irritate the
constant bell ringing. After Saradzhev sawed some of the bells for a better sound,
he was accused of spoiling the property. After a while he fell ill, and after
recovery he was gently announced that his services would no longer be needed. In
December 1930, he was given a check for $ 50 and sent to Russia.
In Moscow, Saradzhev continued to work on the book "Music-Bell", the manuscript of
which has not been preserved. In the difficult 30-ies and 40-ies were lost almost
all of his records. A little of what remains, Anastasia Tsvetaeva collected in the
book "Master of the magic ringing." Anastasia Tsvetaeva herself for Saradzheva
sounded the same as "I'm sixteen sharp major", and her famous sister Marina is the
same as "Mi seventeen flat minor". Is not it strange music? But, who knows, maybe
that's how the music of the spheres sounds.