During this period, Busoni wrote his Piano Concerto, one of the largest such works he ever wrote in terms of duration and resources. Dent comments "In construction Concerto is difficult to analyse ... on account of the way in which themes are transferred from movement to another. The work has to be considered as a whole, and Busoni always desired it to be played straight through without interruption." The press reaction to the premiere of the concerto was largely one of outrage: the "" complained of "Noise, more noise, eccentricity and licentiousness", while another journal opined that "the composer would have done better to stay within more modest boundaries". The other major work during this "creative pause" was the "Turandot Suite". Busoni employed motifs from Chinese and other oriental music in the suite, though, as Leichtentritt points out, the Suite is "in fact the product of an Occidental mind, for whom the exact imitation of the real Chinese model would always be unnatural and unattainable ... the appearance is more artistic than the real thing would be." The suite was first performed as a purely musical item in 1905; it was used in a production of the play in 1911, and was eventually transformed into a two-act opera in 1917.