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How did terrace dynamics strengthen the contrast between tutti and soli groups?

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caricature of Antonio Vivaldi — concerto Caricature of Antonio Vivaldi, pen and ink on paper by Pier Leone Ghezzi, 1723; in the Codex Ottoboni, Vatican Library, Rome. The inscription below the drawing reads, “Il Prete rosso Compositore di Musica che fece L'opera a Capranica del 1723” (“The red priest, composer of music who made the opera at Capranica [College in Rome] of 1723”).

In the Baroque concerto, the relationship between the tutti (the full orchestra) and the soli (the concertino group) was defined by an opposition of "weighty" and "light" masses of sound. The use of "terrace dynamics"—the Baroque device of alternating blocks of loud (forte) and soft (piano) sound—sharpened this contrast by creating distinct dynamic levels for each group.1

This effect was most frequently utilized in echo passages, where a soli section played piano immediately following a tutti passage played forte. This dynamic differentiation was further reinforced by other stylistic contrasts:1

Rhythmic Contrast: The tutti often provided steady, solid beats, while the soli performed more intricate, virtuosic, and quicker figures.1
Technical Distribution: Most melodic ornamentation and complex passagework were assigned to the soli rather than the tutti.1
Spacing: Composers artfully highlighted these contrasts through varied alternations of the two groups, adjusting the frequency of their interplay to maintain musical tension and variety.1