There is no parking. There is no program. But finally I find a space, and I memorize the pieces and write them down at intermission and here.

There is "Voices." (It is a Presbyterian church, and the sound qualities inside are excellent, echoing off the old and arched ceilings. It looks like something out of the last century, but it may be a restoration, or maybe it was far enough away from the town center that it didn't burn.)

There is "Where." (On the porch, the entrance to the church, a cross about 6 feet high leans against the building. It's literally an "old rugged cross.")

Next is "You." (There are no pews, only folding chairs. There is an organ, padlocked.)

These first 3 pieces are by an African-American woman. It would be possible to have a greater contrast between the two woman whose concert this is, but it would be difficult. This one would have to be as dark and shiny of skin as Sosa, and the second woman, now introduced, would have to be albino.

The first composer has thick black hair, dozens of braids over a head partially shaved on the sides, and her command of rhythm, self-accompanied electronically, is stereotypical, her movements sinuous and perfect, as they must be to enable her muscles to partially control her music.

The second is tall, Nordic, one would almost say gangling were she not strikingly graceful. Her command of her instrument is also lovely, although she has not perfected her electronic controls. She can sample and loop like her concertmate, but the controls are less natural to her, and she fumbles slightly and hasn't yet incorporated her electronics into the dance of her performance.

Her first piece is "Vermont Rules." (Vermont is the name of a dog who just died. The stage is embellished by a small picture of the dog in a field of tall grass and flowers.) It is her own recent composition.

Then the two opposites (white silky blond and black natty braids) do a duet. There is no discernible title, nor did I hear any discernible words. The basic musical background is the Western octave, the beauty of the African-American's voice, and the perfection of her electronic technique by no means overcoming the cello expertly bowed and plucked by the Caucasian.

A body synth for the singer. A Lexicon for the cellist. A cello with a pickup. A celli (electronic).

The cellist begins after the intermission, another of her compositions, but not as recent. This one has been recorded. The sound levels are tough to get right. I'll be interested to hear how they sound with a professional sound engineer doing the electronics. "Altar Piece." An obvious choice for the church.

But it is the singer/electronicist who is on the altar side of the dais, and she is next, with "Gaijin," a piece I've heard before. It's a little different this time, with more Japanese, I think.

Then they finish the performance with an improvised duet. There are some set portions, but the improvisation is nevertheless obvious and the two work together remarkably well. Having seen them together once before, I think to myself that they have gotten to know one another better and understand more about how to work together, how the music of each works, both in their minds and on their instruments. I don't like it when the music stops, although, as John Cage once said, "Music is continuous. It is we who turn away."