Of course it's true that having 4 sampled dynamic levels is not the same as having the infinite number of dynamic levels and variations in timbre that are available from real performers and making samples sound realistic is a very time consuming art requiring the skilled use of every available parameter.
On the other hand, at least in my experience, it is possible to make a live orchestra sound like a poorly programmed sampled realization. For example, I attended a NY Philharmonic concert conducted by Zubin Mehta who favored the brass section above all others. At the concert during a passage in Brahms symphony, Mr. Mehta allowed one low tuba note (which the composer clearly intended to be a discreet foundation for the harmony) to so dominate the sound that, although the whole string section was playing furiously, you could barely hear them. When the late Erich Leinsdorf later came as a guest conductor he told the brass players that what they normally (under Mr, Mehta) considered P was his FFFF. Under Mr. Leinsdorf's direction, the orchestra sounded like an entirely different and infinitely more artful ensemble.
One of the things that, I think, makes Alex Temple's Wagner and Bruckner demos sound relatively natural is that the brass and woodwinds are not allowed to dominate and, as a result, he achieves a balanced sound.
To me, the limitations of current sampling technology - - or at least my limited abilities in using it - - are more drastically apparent in the solo strings (e.g playing as a string quartet) than in the orchestral strings.
Guy:
I don't think anyone meant to insult you in any way - - this is just a friendly discussion in which we express differing views. I hope you will continue to contribute your thoughts - - and demos. I visited your website and listened to the "Sadness of Sauron" which is, I think, beautifully and sensitively wrought.