I'm quite partial to very abstract electronic pieces (think Autechre or Ryoji Ikeda) with no acoustic component in the instrumentation and very little human expressive element. Naturalistic because it can be something like walking through a landscape, or sitting on a cliff as a storm approaches or abates. Or the furious chatter of flocks of birds, etc. Well, I hope it's spatial and naturalistic intelligence and not sociopathy.
As you mentioned it, I'm more rarely taken by thought of where the performers are positioned or what they are up to. But I wonder if you have stronger interpersonal intelligence also, vis-à-vis the performers, or if the desire to re-construct is basically visual-spatial. I do think that basing reproduction on live acoustic performance at least gives you a tangible reference—somewhat elusive for studio-assembled sound, especially abstract pieces—which is both easier to approach but likely harder to perfect. The conventional live music I go to depends on PA for sound, there are no natural instrument locations. The more esoteric spatial pieces may well have custom audio setups that certainly could be recorded as such, but rarely would be. That said, studio assembly often creates a soundscape for stereo, which may be simple or complex, with many examples of the latter these days.
So imaging specificity and soundscape dimensions are system and setup factors for me. I've gone for the fairly directional speaker style, toe-in to face the listening position at least, along with some DSP. The latter full range which improved imaging noticeably. Room treatment of both floor and (raked) ceiling. I've yet to try specific side treatment (apart from sliding the walls open) but lateral extension of the soundscape is present, at least where the recording has it rather than totally due to reflections (I surmise, not certain).
Edit: my temporary listening space is a mezzanine loft half-length, so space is tight—I'm sitting mid-room—and speakers are necessarily close to the front wall. A rough model shows same side reflection 3.2 ms behind direct, within the 1-5 ms window for precedence effect:
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The opposite side reflection is 9.4 ms late, and the double bounce is roughly twice that:
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The longer times are more problematic. More directional speakers will mitigate this. As will side wall absorption and/or diffusion: I suspect the benefit of either/both isn't so much for the initial same-side reflection, but the later-arriving cross and bounce, wrt imaging.