The base-line of Belimov’s work was searching for synthesis of Western and Eastern attitudes to music. This search goes from composition structure to sound structure, from the content of a piece to the content of one single sound that lives its own life.
Another area of composer’s experiments was technique of super scale integral to any one particular composition. Works created (or as Belimov said “grown”) in this technique are his Third Symphony (1990), “Song of Morning Awakening” (1990), “Garden of Diverging Paths” (1991). Microtonal composition “Behind the Mirror of Silence” (1992), which develops this technique, was first performed at the international festival of microtonal music “In Tune II” in Britain in March 1993.
Whatever techniques are applied, the main Constanta of Belimov’s composer image remained his belief in cultural universalism. Diving into the music of non-European cultures, turning to ancient Europe, exploring possibilities of electronic sound or finding unexpected soundings of well-known instruments, the composer’s intention is always to touch upon the fundamental origins of human musicality and, even broader, of human perception of sounds. Music based on such an aspiration inevitably becomes undeniable evidence of cultural and spiritual unity of the world.