the sound of massed violins in classical orchestral recordings

why do massed violins have this sort of gritty sandpapery reverberation in classical orchestral recordings?even in some sections of a piece, when the violins are playing softly in the background, you hear that gritty overtone more than the melody.when I listen to the Houston symphony in Jones Hall,sitting fourth row, facing the violin section, I don't hear that sound.I have three systems { two of them mid-fi ] and I hear the same thing-even with all instances, the other parts of the orchestra are clear.  my main system : Vanalistine Trancendence 10 tube preamp,a 35 year old solid state Proton D1200 amp, [have tried NAD,Project, Musical Fidelity amps--they don't sound any better],Onkyo dx7555 CD player [Stereophile class B],and Project Carbon turntable with Grado Black 2 cartridge [ the Ortophon Red was too bright ] through Magnepan MG12/QR speakers.Tried a highly regarded Elac speaker--no change as far as the violins go, but way inferior to those dramatic Maggies.So, there you have it. Is it the equipment? Is the state of the art not up to recording violins? Is it me? [its o.k.-I can take it}. In closing,a couple of years ago,I had phone conversation with a well known person associated with a major speaker company about this. His response :[ paraphrased ] Violins are a problem--don't like 'em.  Any input will be appreciated. Thanks.
DGG quality varies over time.  Remember that DDD was already a thing by 1980.  Besides a slow, long learning curve, there's also the quality of the ADC being used to consider.  It was *early* DDD DGG recordings that were the worst offenders.
I'm more asking a question than making an assertion.  In the string section of an orchestra how in sync are the musicians when using vibrato technique?  I imagine that there would have to be some variation between the players which would result in a chorus like effect.  Close up multi-miking would accentuate this phenomena.  Is this possibly what people are hearing?

This is not a problem that is ubiquitous; it affects perhaps a good number of recordings, but certainly not all of them, and to varying degrees.  From which I conclude that it has to do with the various recording conditions: the space, the mikes, the recording equipment, the most-recording processing, etc.
The old Telarc CD orchestral recordings always sounded right to me.  Pretty much nothing else.  That shows it can be done.  Most everything else was done with multiple microphones too close to the violins and equalization.