PERFORMING ARTS

The LK

On "Vs. the Snow," Swedish duo the LK sometimes sounds like a synth-pop outfit. Live on Sunday night at the Kennedy Center Millennium Stage, it occasionally gave this impression, but most of the music derived from sweet vocals, a stripped-down drum kit and an electric guitar. Once part of a band called the Lovekevins, guitarist Fredrik and singer Lindefelt (they go by solo names) were playing only their fourth gig in their current incarnation with Lindefelt as stand-up percussionist, but they were largely successful in combining radio-friendly sounds with underground, artsy elements.

Performing in front of a screen showing animation videos by various Swedish artists, they opened strongly with the melancholy "Stop Being Perfect." Lindefelt's unusually phrased English lyrics did not convey any straightforward meaning, but the gorgeous vocal melody, subdued guitar playing and programmed whooshing noises nevertheless supplied an emotional impact. "Down by Law" did not work quite as well: Although it featured some affecting cornet blowing from Fredrik, the song lacked a catchy enough hook to stand out.

"Private Life of a Cat" did a better job of exhibiting the duo's strengths. Again, some of the lyrics made little sense ("Can you tell now the answer to disco?"), but this did not matter. With Lindefelt standing on his toes singing the repeated bittersweet refrain "Where did all the love go?" and banging out snare drum beats, and Fredrik adding jangly guitar lines, the LK nicely blended minimalistic and mainstream touches.

-- Steve Kiviat

The Washington Chorus

For the first time in its 47 years, the Washington Chorus is looking for a new conductor. Three candidates have been taking turns this concert season at leading the singers, and the selection committee hopes to pick the winner by this summer. Conducting Sunday's program at National City Christian Church, Joshua Habermann, a professor of music in San Francisco, drew from the voices an exciting sense of immediacy and confidence.

A constant ebb and flow of sound extended to the final measure of every work in the program. The most meaningful and original piece was the opener, Benjamin Britten's now-classic cantata "Rejoice in the Lamb," an audacious spoof in its witty verses glorifying the diversity of creation. The text -- by the deranged 18th-century British poet Christopher Smart -- is an idiosyncratic ode to his gracefully "wreathing" cat Jeoffry, a "valorous" mouse and various other flora and fauna.

Aided by the skillfully rendered organ accompaniment of Charles Miller and fine vocal soloists, the chorus visibly enjoyed the music, immersing their voices in its sweetly radiant melodic lines and incisive dramatic effects.

Tarik O'Regan's "Dorchester Canticles" and Morten Lauridsen's "Lux Aeterna" followed the Britten. Both are pleasantly derivative -- embedded in that British tradition of music for stone cathedrals borrowed by a plethora of American composers as well, though O'Regan's percussion and harp additions were effective extras. This is music comfortable to sing and accessible to listeners -- meaning it sells to the typical audience and choral group.