We brainstormed a list of ways to make a subito piano more striking. At least half of them related to our interpretation of the previous forte section.
Dynamics are not absolute: they work in deep relationship to what’s happening around them, in terms of contrast, timbre, tone, placement in the piece, voicing, language, etc.
And half of the things that make a piano really work aren’t happening when the piano happens. It’s important to widen the view and see that. We have to see dynamics in context.