Star rating: ****

There is a straightforward reporting job to do on one aspect of the performance on Saturday night of Mahler's Third Symphony by Stephane Deneve and the RSNO. That is simply to record some extremely ropey playing from surprising quarters of the orchestra, notably the brass sections, including the principals.

This is not music criticism, nor even a matter of opinion. It was an audible and undeniable fact. I have not the faintest idea of the cause, whether it lay within the piece, Deneve's direction, or some other factor of which I'm unaware. Let's be clear, however: it is important. Contrary to popular opinion, we don't sit and count mistakes, or measure inaccuracy of intonation; but to hear this quality of playing from some of the most highly regarded musicians in Scotland was alarming.

That said, the gargantuan symphony, which runs at almost two hours without a break, was otherwise an unmitigated triumph for principal conductor Deneve and his Scottish brigade. Why? Two specific reasons: Honesty and integrity. Deneve neither overcooked nor over-dramatised the six-movement symphonic monster.

Moreover, he successfully reconciled the antithetical elements in the colossal first movement: its cellular fragmentation (not to put too fine a point on it) and its symphonic structure. He consistently refused to let the music, in any of its movements, wallow or sentimentalise. Personally, I'm of a wallowing disposition in Mahler, but I can't deny the effectiveness of Deneve's delivery, establishing a continuum of momentum through Elena Manistina's richly-sung Midnight Song, into the chiming purity of the RSNO Ladies and Junior Choruses, then, without pause, into a flowing and non-indulgent performance of the cathartic finale. Much for Mahlerians to think about.