Need a system for Chamber music--ideas?

Frogman, Thanks. I knew I was asking for a lot, but I thought taking faithful reproduction of Mahler out of the picture might simplify things, though doing the Shostakovich piano quintet right is no small feat. I hadn't thought of quads. That might be interesting to try. But you know, I remember some pretty convincing recordings of piano trios (yes, a much easier ensemble to record) with my old ADS 570s back in the early 80's. Convincing with respect to stage if not dynamics and timber. In this day of 20-40K monitors, I thought we might have some interesting trickle down by now. I could probably have the Pacifica live in my living room for less. I need to start sitting dead center first row and close my eyes to get that reality check. I usually sit just to the left of the first violin, about three rows back, where I face the cello straight on.
Elizabeth, it's not really resolution that is the problem. The system resolution is quite good actually, and I think my power conditioning is pretty good although I have a ways to go on the PC's. I will take your suggestion as a reminder to start upgrading the PC's and I might get some help there. The problem is that because of my room size and the fact that the maggies are out 5 ft from the back wall, I'm listening near field. Quartet seating has the first and second violins together on the left, sitting only 2-3 ft apart., with 2nd violin seated pretty much behind the first with only a slight left to right offset as a microphone would see them. Even in a live performance, I need some help from my eyes to know who is playing what. Much of the violin's range is in the ribbon and much of it is in the midrange, which inevitably gives some smearing of a violin placed either left or right of center stage. A dead center violin, as in a Bach partita, does not suffer from this effect and reproduces as a well placed dead center image. Maggies inherently are at a disadvantage because of their design compared to point source types. If I were in a larger room, I think it would be better, but still probably not ideal.

Monitors and tubes are well known for superior spacial presentations. I was hoping someone had the magic combo for chamber music.

Have you actually heard the bright line between 1st and 2nd strings on another setup and not yours, with the same recording? It may be just the source recording you have and not really your system.

Try some different recordings of the same music from different labels to see who better captures the qualities you seek.

Brownsfan,
In your listed price range (used) I`d suggest the Coincident Triumph II(very efficient). Driven by their Frankenstein 300b SET(or a used wavelength Cardinal for another example).I`m primarily a jazz listener but also getting into classical music. Chamber music is very realistic(seperation,space,nuance and tone) in my system(I`m loving it).I have the large Coincident speakers but their monitors would suit your desires fine IMO.I`ve really developed a fondness for Mstislav Rostropovich`s cello playing. I can listen to him for hours.
Regards,

I would suggest obtaining well recorded source material. The danger with this approach is that, it might actually solve the problem.

Your problem seems to be that, you hear 100+ instruments just fine, and you hear one instrument just fine, it's those pesky Trios and Quartets. Does that pass the common sense test?
Cheers

Lots of good comments here.
Nonoise-The next round of auditioning will focus on chamber music. When I bought my Maggies, I used orchestral, choral, piano, chamber, every type I have, in order to get the best general purpose speaker. As far as recordings, I have a half a dozen Beethoven cycles, two Mozart cycles, Haydn on a viariety of labels, with numerous repeats on certain pieces, 3 Shostakovich cycles, a good mixture of Brahms, Dvorak, Bartok, Britten, the list goes on--hundreds of recordings on numerous labels by a variety of ensembles. I can't think of a single recording that does what I am looking for.
Charles1dad- I am very interested in the Coincident stuff. I need to hear some of their gear.
Rok2id, large scale works aren't perfect, its just that after extensive auditioning, the Maggies were the best at orchestral stuff at anything close to the price. Im also not surprised they can be quite convincing on a well recorded soloist with a central image. That is a much easier problem. I think Frogmans comments lead me to know where to start. With a live performance, seated center front, with my eyes closed. String quartets are a tough problem both for recording and play back.