The premiere recording of Michael Daugherty’s tribute to Woody Guthrie recalls populist chords in American history when homeless citizens rode the rails, labour unions arose from flames and hobos became troubadours. Ironically in light of recent events, This Land Sings was commissioned as a message of hope and premiered in Tulsa, Oklahoma.

Listening to the 17 tracks without narration may lessen its theatrical impact but allows for deeper reflection on just how tied to the current struggle for the nation’s soul are the issues that consumed Guthrie. The quality of the music, the edgy virtuoso performance by the Albany Symphony’s new music ensemble Dogs of Desire and the marvellous singing by Annika Socolofsky and John Daugherty (no relation to the composer) make it worthwhile to spend the time.

Michael Daugherty infuses the musical rails of Guthrie’s America with contemporary hobo strains and attitudes to dramatise a series of highly evocative snapshots with words by other American icons including Sandburg and Twain. Daugherty makes his points quickly and, with only eight players at his disposal, economically. Recreating their performances at the premiere, the two soloists brilliantly assume musical styles and personae, ranging from Socolofsky’s unbearably moving Dust Bowl widow to Daugherty’s Elvis in a savage back-to-the-future satire on a Graceland cemetery.

Each of the five purely instrumental interludes, which together would make an excellent concert suite, is vividly characterised. A flugelhorn in ‘Marfa Lights’ relocates ‘Sketches of Spain’ to desolate Southern plains. The raw anger of ‘This Trombone Kills Fascists’ may capture Guthrie’s aesthetic best.

The composer supplies notes, David Alan Miller leads with authority and the recording is strong and clear.