Charles Rosen, for example, has the view that the essential feature of the piano concerto is the contrast between the solo, accompanied, and tutti sections; and this psychological drama would have been ruined if the piano was effectively playing the whole time, albeit discreetly.
Charles Rosen, por exemplo, opina que a característica principal do concerto para piano é o contraste entre o solo, acompañado, e as seccións de tutti; e este drama psicolóxico podería terse arruinado se o piano tocara eficazmente todo o tempo, aínda que discretamente.