Accents -- The Phrase-Breakers and Rhythm-Markers

Accents--they feel like they're anti-phrasing, especially on the piano.  The piano is percussive as is, accented notes almost feel like they're just emphasizing the shortcomings of the instrument.

For piano pieces by the likes of 20th century composers like Prokofiev and Bartok, accented notes seem natural and appropriate.  It's like revealing the true nature and ambitions of the piano, instead of trying to make it into a legato instrument which it is not.  Perhaps it's for that reason I've always like 20th century music more than the Romantic era.  I have to admit, however, that it doesn't explain why I'm a Debussy and Ravel fan.

So what to do about accents in music where the composers were trying to make the piano sing?  I haven't had a clue, up until today, when I'm studying the Chopin Trio.  My understanding thus far, comprises of the two following points, although if you think about them they're kind of related:

1) Phrase-Breaking
  The past couple of months I've been thinking about how to phrase a line on the piano.  I realized that the human ear is sensitive to contextual input, and this illusionary effect is perhaps the only reason why the piano can sound legato to us.  So, to insert accents in a phrase is just doing the opposite.  You are actively disrupting the phrasing.  Example:

Chopin Piano Trio, 2nd Mov, Bar 1-2

According to the National Edition, the first accent (more accurate, the first marcato) isn't even an accent--it's a one-note diminuendo.  In any case, it's the accent circled in blue I'm referring to.  Instead of ending the phrase, you put an emphasis on it.  It totally disrupts the flow of the phrase.

This has such a profound effect that it almost sounds unnatural.  How do you make it not sound so abrupt?  That brings me to my second point.

2) Rhythm-Marking
   Musicians often put a slight accent on, or at least pay more attention to, the beginning of every measure.  This rhythm marking function of an accent is about as natural as it comes.  In fact, many dances are differentiated by merely which beat the accent is placed.
  So I think the only way to make the example above (start of Chopin's Piano Trio 2nd Mov) is to somehow establish a rhythm very quickly.  You have exactly two chances to do it--third beat of measure 1 and third beat of measure 2.  Can you (read: I) pull it off?
  Speaking of dances, the 4th movement of the piano trio is effectively a Krakowiak, in the style of Chopin's Rondeau de Concert, Op.14.  It is there I realized this second function of the accent:

Chopin Piano Trio, 4th Mov., Bar 1-8

Notice all the martalletos circled in blue.  They define the character of at least the opening of this movement and is something the performer must impart to the audience.  It doesn't come naturally to me but you're just have to get a feel for it, maybe by listening to Chopin's Opus 14, which sounds very similar to this movement at times, or other Krakowiaks.

There are other functions of accents... like a slight pause in music for added drama, etc.  But I don't have good examples as of yet, so I'll hold off that thought for later.