A Dictionary of Music and Musicians/Vivace
VIVACE (VIVO, VIVACISSIMO), 'Lively, in the liveliest manner possible.' A direction used either alone, and indicating a rate of speed between Allegro and Presto, or as qualifying some other direction, as Allegro or Allegretto. Allegro vivace will be taken quicker than Allegro by itself, but not so quick as Allegro assai. [See Allegro.] It occurs constantly in Beethoven's works in every class, and the same composer uses the less common 'Allegretto vivace' in the scherzo of the Sonata in E♭, op. 31, no. 3. The word applies not only to speed, but to the manner of interpreting the music. The metronome marks over two movements, one labelled 'Allegro agitato,' and the other, 'Allegro vivace,' might be exactly of the same value; the difference between the two would be entirely one of style. The Vivace in the latter case would imply an absence of passion or excitement, an even rate of speed, and a bright and cheerful character. The direction used by itself at the beginning of a movement is time-honoured; it occurs frequently in Bach and the composers of his time.
In the 'Confiteor' of Bach's Mass in B minor he uses the expression 'Vivace e (sic) Allegro' at the wonderful point beginning with the words 'Et expecto resurrectionem mortuorum.' In this passage there is a slight discrepancy in the MS. authorities, which leads to considerable differences of rendering. After the first delivery of these words, Adagio, the quick movement starts with three repeated notes in the first soprano part, beginning at the half-bar. In one of the two chief MSS. the direction Vivace occurs at the beginning of the bar in the middle of which this phrase begins, and in the other it appears over the beginning of the next bar. This latter reading has been accepted by the editors of the Peters edition, but the Bach-Gesellschaft editors are doubtless right in placing the direction over the half-bar, so that the alteration of time takes place simultaneously with the soprano lead. This reading has been followed in the performances of the Bach Choir.
Schumann used the terms Vivo and Vivace interchangeably, as is shown in his 6th and 8th Novelettes, at the head of which the two words stand, both being translated by 'Sehr lebhaft.' Other instances of his use of the two words are found in the 'Études symphoniques,' where also there occurs an example of Schumann's peculiar use of the direction, viz. as applied not to an entire movement, indicating its speed, but to a passage in a movement, referring to the manner of its execution. In the fourth variation the bass alone of the third bar is labelled 'sempre vivacissimo,' and no doubt the composer's intention was that the part for the left hand should be much emphasised and its animated character brought out. The same direction, applied in much the same way, occurs more than once in the Sonata in F♯ minor, and in the Scherzo of that work a staccato passage for the left hand is marked 'Bassi vivi.' In the Overture, Scherzo, and Finale, the same composer inscribes the second movement 'Vivo.'
Beethoven uses the word 'Vivacissimamente' for the finale of the Sonata in E♭, 'Les Adieux, L'Absence, et le Retour,' op. 81 a.