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Giacinto Scelsi: Riti: I Funerali di Achille (1962) :: String Quartet #2 (1962)
Stradivarius STR 33801 (2007)
John Luther Adams: Dark Waves
Stephen Drury and Yukiko Takagi, pianos, Scott Deal and Stuart Gerber, perc
Cold Blue 26 (2007)
Elena Kats-Chernin: Variations in a Serious Black Dress
Stephanie McCallum, pno - ABC (Australian Broadcasting Corp) 4564682 (2004)

Elena Kats-Chernin: Clocks (1993)
Sydney Alpha Ensemble, David Stanhope, conductor. ABC Classics 4564682
Michael Gordon: Van Gogh, excerpts (2006)
Alarm Will Sound, Alan Pierson, cond. Cantaloupe Music 21044 (2007)

Also, many interesting concerts in the Bay Area over the next two weeks. Look here.

John Luther Adams: Red Arc/Blue Veil
Stephen Drury and Yukiko Takagi, pianos; Scott Deal and Stuart Gerber, percussion
Cold Blue CB0026 (2007)
Red Arc/Blue Veil (2001) is the first piece in a projected cycle exploring the geometry of time and color—what Kandinsky called "those inner sounds that are the life of the colors". J L Adams
Giacinto Scelsi: Quattro Illustrazioni sulle metamorfosi di Vishnu (1953)
Fabrizio Ottaviucci, pno. Stradivarius STR 33801 (2007)
"The first illustration is fluid and hypnotic and is intended to represent the thousand-headed cosmic snake entwined around the head of Vishu; the second is very energetic and dynamic and represents Vishnu incarnated as a boar seeking the origins of life in the depts of the earth; the third is elegant and seductive and illustrates King Rama who ruled over a kingdom of great splendour in ancient times; the fourth is transcendental and represents Krishna the boy king." G. Scelsi
Morton Feldman: Palais de Mari (1986); Piano Piece for Philip Guston (1963)
Marianne Schroeder, pno. Hat Now CD6035 (1990) Hat Hut Records (Switzerland)
"I am reminded of an observation Feldman made a few months prior to the composing of Palais de Mari, when he had been visiting the Metropolitan Museum in New York and had by chance come upon a late work by Degas. He was admiring the work expressly for the thinness in the application of the paint to the canvas, and remarked that he wished to work in a similar way in his own music." Barbara Monk Feldman