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What do the terms tutti and soli mean in a Baroque concerto grosso?

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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 a Baroque concerto grosso, the terms tutti and soli refer to the two contrasting instrumental groups that define the genre's structure.12

Tutti: Meaning "all" in Italian, this term refers to the full orchestra, also known as the concerto grosso or ripieno. It typically consists of a full complement of strings and the basso continuo, playing parts that were often simpler in nature.2345
Soli: The plural of solo, this term refers to the concertino—a smaller, featured group of instruments (often a trio of two violins and a cello). The soli were responsible for more virtuosic, intricate, and technically demanding passages, creating a dynamic opposition of "weighty and light masses of sound" against the full orchestra.6275

This interplay between the two groups allowed composers to create contrast through texture, volume, and technical complexity, often utilizing "terrace dynamics" where the soli passages provided a softer, more delicate sound compared to the louder, full-bodied tutti sections.2