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Although already in 1711 Vivaldi announced -- in the introduction Alli dilettanti di musica to L'estro armonico, Op. 3 -- the forthcoming publication of a second collection of his concertos ("Mi fa corraggio di presto presentarvi un'altra muta de concerti a 4"), it was not until 1716 that La stravaganza, Op. 4 appeared. The delay was due not to the publisher, Estienne Roger, but rather to the delayed sending of the material to Amsterdam by the composer, as I recently documented in my essay "The (lost) violin concerto rv 316 by Vivaldi: its reconstruction and dating" (Studi vivaldiani, xviii, 2018).Thanks to the existence of non-autograph albeit authoritative manuscript versions, of various concertos that transmit a musical content earlier than that later adopted for Op. 4, a collation between these sources draws attention to numerous and significant differences regarding both important aspects of Vivaldi's compositional and reworking processes (cuts, additions, alterations, the rewriting of instrumental parts or entire passages, the replacement of movements), and changes -- or even errors -- introduced by the Dutch publisher in the printed edition. Not only that, but the similarity of some compositional second thoughts of the Red Priest encountered both in a pair of the Op. 4 works and in certain corrections made by Vivaldi himself in a concerto movement (D-Dl, Mus. 2421-O-14) by Johann Georg Pisendel, composed during the Saxon violinist's stay in Venice, can provide further hints about the period when the complete Stravaganza set was being assembled. [ABSTRACT FROM AUTHOR]