Vivek Kamath (Photo: Chris Lee)

It is not everyday that an Indian American gets chosen to be part of the prestigious New York Philharmonic (NYP). Thirty-year-old Vivek Kamath is that rarity. A violist with a degree in music, Kamath is a seven-year veteran of the NYP. He studied with former Cleveland Quartet first violinist Donald Weilerstein at the Cleveland Institute of Music, where he earned his bachelor’s degree. In 1997, he was a prizewinner in the Washington International String Competition as well as the Irving Klein International String Competition.

An avid chamber musician, he has performed with the New York Philharmonic Chamber Ensembles, Bargemusic, the Prometheus Chamber Players, the Chamber Music Society of Lincoln Center, as well as at festivals Marlboro, Bridgehampton, Arcady, Ravinia, Blossom, Bowdoin and Sarasota.

Q: As a choice of careers goes for Indian Americans, you have defied the stereotypes completely. How did you manage to do that?

VIVEK KAMATH: I played violin as a child, it was one of many hobbies for me. But I always loved it and took it more seriously than anything else. When I was in high school I decided I wanted to be a musician, my parents were supportive but also warned me that it was a tough field.

Q: Was music always a conscious choice or is it something that evolved over a period of time?

KAMATH: It definitely evolved over time as I grew to love it more and more. I eventually realized I would be happiest if I became a musician.

Q: Describe to us the process of the instrument that you eventually did choose?

KAMATH: When I was six years old I began violin lessons. I had heard a girl I took swimming classes with play violin and wanted to play too. I also started playing viola while in college in Cleveland. I liked playing viola more than playing violin and decided to go to Juilliard for my master’s degree as a viola major. I love the sound of the viola, it’s warmer, deeper, and richer than the violin and has a very beautiful somber quality.

Q: In terms of a full-time career, does what you do keep you occupied enough not to look for anything else?

KAMATH: Yes, it is definitely a full time career. The wonderful thing about it is that it doesn’t feel like work. It’s a pleasure to practice and perform.

Q: What did you grow up listening to?

KAMATH: I mostly listened to pieces for violin when I was a kid. I also heard my sister practicing piano every day. I only had a brief interest in rock music and don’t really follow that scene. Nowadays, I listen to most classical music, including chamber music, orchestral music, and I love listening to pianists play.

Q: Is your family inclined towards music?

KAMATH: My sister played the violin and piano when she was younger, just as a hobby.

Q: How much are you exposed to Indian classical music?

KAMATH: I haven’t been exposed to it that much. I would like to learn more about it.

Q: Tell us about your involvement with the New York Philharmonic. Give us some idea about what it takes to make it there.

KAMATH: I have been playing in the New York Philharmonic for the past seven years. The audition to get in to the orchestra is quite competitive since many, many people are all auditioning for one position, there is no second prize. I worked extremely hard for this audition and was so happy when they chose me. Certainly one must play well, but in the end there is a bit of luck involved too, because a choice must be made from the small group of most qualified musicians.

Q: Chamber music is more about collective harmony than individual distinction in so much as it means that the individual is not expected to dominate the ensemble. How tough is that?

KAMATH: Chamber music is something that almost all classical musicians participate in regularly. Blending into the group is just one part of it, a good chamber musician must also play like a soloist during certain passages, imitate other members of the group at times, and provide support and life to the other voices. I think your description is more suited to orchestral playing; chamber music demands big musical gestures and individual members of the group are very exposed to the audience.

Q: Do you ever contemplate becoming a soloist?

KAMATH: I think that every musician has wanted to be a soloist at some point. Children who play violin want to be like Itzhak Perlman, cellists want to be like Yo Yo Ma, and so on. A healthy person realizes at some point when they are young whether they are a supertalent like Perlman or Ma or not, the vast majority of people are not, of course.

Q: How tough is it to make a professional career as a musician?

KAMATH: It’s quite difficult. I feel lucky to be where I am. I know many musicians who struggle or even give up and move on to something else. It’s especially tough if you don’t have a steady job, such as an orchestra position or university teaching position. Being in the right place at the right time, who you know, who likes you, and things like that can often be just as important as how well you play.

Q: Do you personally like composing or do you prefer performing what is already written?

KAMATH: I don’t have any experience with composing. I enjoy working with composers on new music. I don’t think I would want to be a composer though.

Q: What are your personal influences?

KAMATH: So many musicians have influenced me over the years. My biggest influence was my teacher in Cleveland, Donald Weilerstein. I left his class almost ten years ago but I still think about his teachings and ideas every time I play. I’ve also learned a lot from listening to many great artists including Oistrakh, Heifetz, Milstein, Casals, Szigeti, The Cleveland Orchestra, The Guarneri Quartet, and Murray Perahia. I could probably think of a hundred more names for people who have influenced me. My colleagues in the New York Philharmonic have also taught me a lot over the past few years.