[11]: 36  Though he did not attend Mikhail Matyushin's Futurist opera Victory over the Sun in 1913, the brief use of quarter-tones in the score had a profound effect on his artistic development.

[10]: 105  In 1919, Wyschnegradsky provided incidental music for a production of Macbeth at the Bolshoi Drama Theater.

[10]: 114–6  There was more quarter-tone interest in Berlin where he went to work with Richard Stein, Alois Hába, Jörg Mager, and Willy von Möllendorff.

Wyschnegradsky found it effective enough to purchase one, but he knew keyboards like Möllendorf's and Paul von Jankó's did not afford enough kinetic potential to performers.

[14] In 1929, one of the Förster upright quarter-tone pianos was delivered to Wyschnegradsky's apartment in Paris where he composed on it for the rest of his life.

[2][16] Even with a suitable quarter-tone instrument, Wyschnegradsky still found performing his music more feasible with separately tuned piano ensembles.

Wyschnegradsky reminded Hába that he designed the quarter-tone keyboard and that when two pianos of the same make are tuned correctly they sound like one instrument.

He maintained a correspondence with Georgy Rimsky-Korsakov (Nikolai's grandson) who organized performances of his work on programs of microtonal music by young Soviet composers.

As early as November 1918, Wyschnegradsky had begun working on Ainsi parlait Zarathoustra based on Friedrich Nietzsche's sketch for the novel.

[20] The concert was a success and led to friendships with fellow composers Olivier Messiaen, Henri Dutilleux, and Claude Ballif.

The performers included several of Messiaen's students such as Yvonne Loriod, Pierre Boulez, and Serge Nigg.

[2] In 1951, Pierre Boulez, Yvette Grimaud, Claude Helffer, and Ina Marika gave a performance of the composer's Second Symphonic Fragment in Paris.

The Revue Musicale published a special issue on Ivan Wyschnegradsky and Nicolas Obouhow in 1972.

1977 saw special concerts of Wyschnegradsky's music organized at Radio France by Martine Joste and in Canada by Bruce Mather.

Of this pansonority, Wyschnegradsky wrote in 1927: "...isolated sounds do not exist...the entire musical space is filled with living sonorous matter.

This state, absolutely incomprehensible to human reason, may be clearly felt, and sentiment can perceive or "hear" this sonority through a manner of inner intuition.

[22]: 30–1 As evidence for pansonority, Wyschnegradsky would point to the inaccurate assignment of note names to overtones.

Since these quarter-tones are naturally occurring in the harmonic series, Wyschnegradsky posits that microintervals are organic and provide a richer tone world.

[17][22]: 20–1 In 1932, Wyschnegradsky published a brief but methodical brochure on microtonality, advancing the field beyond what had been written to date by composers like Charles Ives and Alois Hába.

[26] Like Scriabin, Wyschnegradsky wanted to combine color and sound, and he envisioned the chromatic drawings as projections on a dome above the audience.

[10] Chœurs (2, words by A. Pomorsky), for mixed choir, 4 pianos in quarter tones & percussions, Op.