The most influential work of its day, Antonio Vivaldi's first set of concertos, called L'estro armonico, inspired composers across Europe to turn out thousands of imitations in the first half of the eighteenth century. Published in Amsterdam by Estienne Roger in 1711 as his Op. 3, L'estro armonico (roughly, The Genius of Harmony) upended the concerto conventions established by Corelli in Roman, enriching and enlivening it with sweeter melodies, more straightforward harmonies, and, above all, a driving rhythm that propelled his music irresistibly forward.
The seventh work in L'estro armonico, exhibits all these traits set side-by-side with elements from the Corelli model. Scored for four violins and cello concertante with strings and basso continuo, the Concerto in F major, RV 567, is an unusually large work in five movements. Like the Corelli model, the Concerto opens with an extended slow movement, in this case an Andante, but instead of Roman severity, Vivaldi's Andante features long, sweet melodies for the concertante. The second movement is a fairly brief Adagio with gravity of Corelli, but it serves as more of an introduction to the extended third movement, in this case an Allegro, a light and delightful movement with the drive and virtuosity of Vivaldi at his most characteristic. The fourth movement is an even briefer Adagio again with the gravity of Corelli but it, too, serves as more of an introduction to the fifth movement, in this case a brief Allegro, a charming and elegant movement with the grace of Vivaldi at his most pastoral.