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What is the usual fast-slow-fast movement pattern in a Classical concerto?

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caricature of Antonio Vivaldi — concerto Caricature of Antonio Vivaldi, pen and ink on paper by Pier Leone Ghezzi, 1723; in the Codex Ottoboni, Vatican Library, Rome. The inscription below the drawing reads, “Il Prete rosso Compositore di Musica che fece L'opera a Capranica del 1723” (“The red priest, composer of music who made the opera at Capranica [College in Rome] of 1723”).

In the Classical era (c. 1750–1830), the standard cycle for a concerto became highly standardized as a three-movement structure consisting of a fast–slow–fast pattern. This cycle was utilized without notable exception by the era's three greatest masters: Haydn, Mozart, and Beethoven.1

Within this framework, the movements generally follow these formal characteristics:

Opening Movements: These typically approximate sonata form, though the application is often freer and looser than in a symphony due to the inclusion of extensive virtuoso passagework and a terminal cadenza.1
Middle Movements: These are generally predictable, with the majority following an A B A design.1
Finales: These most commonly utilize rondo or sonata-rondo forms, though Haydn occasionally incorporated a minuet.1

While these patterns provided a reliable structure, the masters of the era achieved distinction through the creative working out of these forms rather than adhering to rigid stereotypes.1