I seriously doubt that people who truly love classical music will stop listening to it because of the difficulty of reproducing multiple violins without a certain edge or harshness, for lack of better terms.
I experienced this problem with a pair of Magneplanar 1.7s which I liked so much I moved up to the 3.6s. That upgrade helped, and when I bought my present speakers Harbeth Super HL5 Plus, the problem was almost resolved. Some posters have pointed to the recording itself as being a part of the problem, and I concur. I purchased multiple versions of Bach's Brandenburg Concertos and found that the edgy gravel sound was almost unnoticeable on some. The same for choral voices. I bought multiple versions of Mozart's Requiem Mass until I found a recording that allowed me to listen to the "Lacrimosa" and discern individual voices and not hear the gravelly sound on the edges. If the recording is done correctly, most quality speakers should be able to handle the multiple violins and voices in an acceptable manner. Acceptable, but probably not perfect, and I think millercarbon was right to bring up the nature of the instrument itself.
I experienced this problem with a pair of Magneplanar 1.7s which I liked so much I moved up to the 3.6s. That upgrade helped, and when I bought my present speakers Harbeth Super HL5 Plus, the problem was almost resolved. Some posters have pointed to the recording itself as being a part of the problem, and I concur. I purchased multiple versions of Bach's Brandenburg Concertos and found that the edgy gravel sound was almost unnoticeable on some. The same for choral voices. I bought multiple versions of Mozart's Requiem Mass until I found a recording that allowed me to listen to the "Lacrimosa" and discern individual voices and not hear the gravelly sound on the edges. If the recording is done correctly, most quality speakers should be able to handle the multiple violins and voices in an acceptable manner. Acceptable, but probably not perfect, and I think millercarbon was right to bring up the nature of the instrument itself.