Gaia Daniel of Minneapolis is the winner of the 2026 Karin Larson YourClassical Prize in the Emerging Artist category. Her entry featuring her piano performance of "Dreaming" and "Fireflies" from Four Sketches opus 15 by Amy Beach was chosen by YourClassical listeners as the submission that best celebrated women in classical music. Daniel receives a cash prize and a recording session in MPR’s renowned Maud Moon Weyerhaeuser Studio.

Gaia Daniel’s winning Karin Larson YourClassical Prize, Emerging Artist category, entry

Share your story of why you selected your piece and how it celebrates women in classical music.

I chose a piece by Amy Beach because I admire how she overcame tremendous hurdles in the male-dominated world of classical music. Throughout her life, her parents disapproved of a performing career and her husband banned her from playing in public more than once or twice a year. So, instead she turned to composition, where she was free to express herself. Performing this piece for a wide-reaching audience on the radio would be empowering for me as a woman because Beach was rarely able to perform her compositions under her confinement. By bringing this piece to light, I hope to encourage others to explore Beach's works and support female composers, past and present.

"Dreaming" holds a special place in my heart, as its sorrow and longing in this piece perhaps reflects the social and musical isolation Beach was subject to. I love how Beach creates a haunting melody with complex harmonies even though most of what she learned about music theory she taught herself from studying scores. "Fireflies," in contrast, demands virtuosity, and the light and fluttery yet brilliant atmosphere hints at the joy and optimism she found in composition. The brilliance of this piece is especially impressive considering her minimal formal piano instruction. Beach persevered, though, and her works still resonate despite having to face more obstacles than men to gain the same recognition. She was instrumental in supporting her fellow female musicians, such as co-founding and serving as the first president of the Society of American Women Composers.

Tell us what winning the prize would mean to you personally.

Both my mom and my grandma are classical musicians, but had to put their career aside for family. Like Amy Beach, they faced obstacles in their performing careers. Yet, they have supported me on my musical journey so much and are a big part of the reason I am where I am today. Winning this prize and getting formal recognition would support me continuing the lineage of female classical musicians in my family. Doing so by playing a woman composer I admire celebrates not only my family's heritage but helps elevate women composers out of obscurity.

The prize money would also support my growth as a performing artist by helping cover the cost of classes and enabling me to attend prestigious music festivals and international music competitions, where I get to perform on major stages and get masterclasses from groundbreaking, world-class artists who inspire and encourage me to continue my journey. By meeting these artists, I get the chance to experience what a professional performing career can look like, something musicians like Amy Beach didn't have the chance to until her husband died. Because many women in the past didn't have the means or support necessary to take part in these kinds of events, it would be especially meaningful to take part in them as a woman myself.

Tina O'Malley of New Brighton, Minnesota, is the winner of the 2026 Karin Larson YourClassical Prize in the Preprofessional Musician category.

Her entry featuring her soprano performance of "When I was a Little Girl" from Kamala Sankaram's chamber opera A.E. Reverie was chosen by YourClassical listeners as the submission that best celebrated women in classical music. O'Malley receives a cash prize and a recording session in MPR’s renowned Maud Moon Weyerhaeuser Studio.

Tina O’Malley’s winning Karin Larson YourClassical Prize, Preprofessional Musician category, entry

Share your story of why you selected your piece and how it celebrates women in classical music.

This piece, excerpted from the one-woman chamber opera A.E. Reverie by Kamala Sankaram, celebrates living women artists who are telling distinctly women-centered stories. Ms. Sankaram is a woman of color who is a member of MN Opera's New Works Initiative Cohort and whose new opera is opening MN Opera's upcoming season. A.E. Reverie is about a young woman who reveres Amelia Earhart and covets the freedom that Ms. Earhart experiences flying around the world, seemingly unrestrained by the same rigid gender norms imposed upon herself and other women in 1929 in the U.S. She feels different from other girls and misunderstood by her family and friends. I performed this piece this past fall and upon my conversations with the director, librettist, and composer, I concluded that this character is queer-coded and celebrates the many facets of gender expression before having the language to express her identity. This entire piece is a celebration of women throughout history who so desperately wanted a voice or tried hard to exercise their voice but felt powerless and unheard. I recognize these queer women of the past with such love and pride as their struggles heralded a time when more women are able to be their authentic selves and have the freedom to pursue the life that they desire for themselves. This queer girl is forever grateful to the bravery of those women who paved the way, and I find such joy in celebrating the legacy of these women onstage through song.

Tell us what winning the prize would mean to you personally.

This past year has been hard. While I have made more progress than ever before, both technically and professionally, challenges in my personal life have begun to hinder my professional success. My disabled brother has been hospitalized on a ventilator since August, and until then, I never would have imagined taking an emergency flight home from a summer opera program in Berlin hoping to make it home in time to say goodbye to my big brother. He miraculously survived, defying the odds, but his health continues to deteriorate. I have poured my entire heart into every single performance this season because every moment spent pursuing this wild career as a classical musician comes with massive sacrifice, but at the core of my artistry is the people I love. Winning this prize would mean that despite this difficult time, I can continue to do what I was put on this earth to do, fund projects in my community and beyond highlighting works of living women composers, and have a financial security net to be able to live close to my brother and help care for him while also having the necessary funds for audition trips to NYC. This is the first major time in my career that I have had to step back, reassess what is most important to me in life and determine how to find balance. I'm feeling a bit lost right now, but it has always been my beloved art form that shows me the way forward.

1. HOW TO ENTER THE CONTEST

NO CONTRIBUTION OR PURCHASE IS NECESSARY TO ENTER

To enter the Karin Larson Your Classical Prize Contest (the “Contest”), follow the instructions on the Contest web page at YourClassical.org/KarinLarsonPrize to submit the following (collectively, the “Submission”): (i) a URL to an accessible video file of you performing a piece of music that celebrates women in classical music; the video file must be under seven (7) minutes in length and must be an original video (i.e., not a video by a third party) of a continuous solo performance, although it may include an accompanist; (ii) two 250-word essays as further outlined below; and (iii) a completed copy of the entry form posted on that page, including selecting one of two prize categories for your entry. The prize in each category will be awarded only to the soloist. Submissions must be submitted and received between 12:01 a.m. CT on February 1, 2026, and 11:59 p.m. CT on March 31, 2026 (the "Submission Period"). Sponsor’s computer timeclock is the official timekeeper for all Contest purposes. Sponsor (as defined below) has sole discretion for determining if an entry has been successfully submitted. Limit one entry per person. Any Submission that is not in compliance with these Official Rules may be disqualified, at the sole discretion of the Sponsor. Evidence of submitting a Submission does not constitute evidence that Sponsor received it. Any entry that is not properly submitted or received for any reason, including any technical difficulties, upload failures, failures to save or properly store the entry, efforts of hackers or any lost or disconnected Internet connections, will be disqualified. Any attempt by any Entrant (as defined below) to obtain more than the stated number of entries allowed will void that Entrant's entries, and that Entrant may be disqualified. Use of artificial intelligence or any automated system to participate in the Contest is prohibited and will result in disqualification; all such entries will be deemed void.

If you are a minor under the age of 18, you must review these Official Rules with your parent or legal guardian and have permission from your parent or legal guardian to participate in the Contest. If a minor is chosen as a finalist, they must submit written permission, including confirmation of age, from their parent or guardian as a condition of further participation and potentially winning a prize.

2. ENTRANT ELIGIBILITY REQUIREMENTS

To be eligible to enter the Contest, a participant (the "Entrant") must be 14 to 28 years of age at the time of entry. Entrants in the Emerging Artist category must be current high school students between 14 and 18 years old. Entrants in the Preprofessional Musician category must be out of high school and between 18 and 28 years old. Entrant and their immediate families and persons living in the same household may not be employees of American Public Media Group or its related organizations, including Sponsor. Previous winners of the Contest are not eligible to enter. Any Entrant (i) who does not meet all eligibility requirements, or (ii) who exhibits behavior that is illegal, unethical, inconsistent with good citizenship, or is otherwise inappropriate may be disqualified at any time, at the sole discretion of Sponsor. Entrant must be a Minnesota resident. Residency means you currently live in Minnesota and have a Minnesota address. Students attending school in Minnesota at the time of the competition are eligible to participate. Students who are Minnesota residents but are attending school outside of Minnesota at the time of the Contest are also eligible to participate provided they have a primary Minnesota home address when not at school. The soloist featured in the video will be deemed the Entrant for all Contest purposes.

You must be a nonprofessional musician to enter. Entrant will not be disqualified if the Entrant has accepted a modest stipend, payment, or honorarium for performances (e.g., paid church musician, paid accompanist). However, no Entrant (i) may be represented under a talent contract (e.g., by a talent agent or manager), (ii) may have a merchandising agreement, (iii) may have a signed contract with a record label, (iv) may have any contract that would limit or impair Sponsor's ability to use the Submission, (v) may have any contract that would make an Entrant's appearance in the Submission a violation of any third-party right(s), and/or (vi) may have any other contractual relationship (e.g., guild or union memberships) that may prohibit the Entrant from participating fully in this Contest, or from allowing Sponsor to use, on a residual-free and royalty-free basis, the Submission worldwide (subject to all local laws and regulations) in all media in perpetuity.

3. SUBMISSION REQUIREMENTS

To be eligible to win the Contest, a Submission must meet all of the Submission Requirements. Any Submission that does not meet all Submission Requirements may be disqualified at any time, at the sole discretion of Sponsor. All physical and electronic entry materials and Submissions will be used by the Sponsor for the purposes outlined herein and will not be acknowledged or returned.

1. The Submission must include a video of the Entrant performing music that celebrates women in classical music. Sponsor reserves the right to determine whether the musical works are within the scope of the required musical genre.

2. The Submission must be made by an Entrant who meets all eligibility requirements.

3. Length of the video submitted may not be longer than seven (7) minutes. Entrants are allowed to fade out their video at seven minutes, or at an earlier natural place, if the recorded performance is longer.

4. Submissions must include two (2) 250-word essays:

   a. One essay should explain why the piece was selected and how the submission celebrates women in classical music.

   b. One essay should share a personal story of what winning this prize would mean to the Entrant.

5. Essays should cite sources for any historical references made. Sponsor will review essays for historical accuracy. Essay responses generated by AI are not allowed.

6. Submissions must comply with all Terms of Service for the website where they are posted.

Additional Submission Requirements: Sponsor reserves the right to, in its sole and absolute discretion, disqualify any Entrant and/or Submission from the Contest for any good-faith reason. Entry Submission Requirement restrictions include, but are not limited to, the following:

• Submissions may not include trademarks, logos or copyrighted material not owned by Entrant or material that is used without permission (including, but not limited to, company names, photographs, works of art or images published on any media) or that otherwise infringes or violates the rights of any third party (including, but not limited to, copyrights, trademarks, patents, trade secrets, logos, contract and licensing rights, rights of publicity or privacy, moral rights [i.e., “droit moral”] or any other intellectual property rights);

• Submissions may not include any unauthorized people, videos, photos, images, comments or plagiarism of any kind;

• Submissions may not contain or reference nudity, inappropriate, indecent, sexually explicit, pornographic or obscene content or images (which shall be determined by Sponsor in its sole and absolute discretion);

• Submissions may not contain any religious, political or politically themed or motivated messages, comments, statements or images as determined by Sponsor in its sole and absolute discretion;

• Submissions may not defame, slander, libel, misrepresent or contain disparaging remarks or any other content that could adversely affect the name, reputation or goodwill of the Released Parties (as defined below) or any other individuals and/or entities as determined by Sponsor in its sole and absolute discretion;

• Submissions may not depict or include any comments, descriptions or images that may be considered unlawful, harmful, threatening, violent, abusive, harassing, tortuous, defamatory, vulgar, libelous, invasive of another’s privacy, hateful, or racially, religiously, ethnically or otherwise objectionable in any manner as determined by Sponsor in its sole and absolute discretion;

• Submissions may not include any commercial message or monetary solicitations;

• Submissions may not be subject to any third-party agreement or require payment or incurrence of any sums to obtain further permissions of any person or entity as a result of its use or exploitation of the Submission or its component parts; and

• Submissions may not include the name, likeness, description, photograph or any other identifying element, in whole or in part, of any person, living or dead, without explicit written permission from such person, their representative, or estate.

Sponsor reserves the right to disqualify and remove any Submission at any time that is not in compliance with these Official Rules. All Submissions must conform to the Submission Requirements as outlined herein or may be disqualified and not considered for the Contest. If, in Sponsor’s sole discretion, it does not receive a sufficient number of eligible and qualified Submissions, Sponsor may terminate the Contest, and no prize will be awarded.

Once a Submission has been submitted, it may not be revised, changed or edited. Entrant is responsible for any and all expenses associated with participating in the Contest, including any recording or submission costs.

4. SPONSOR’S RESERVATION OF RIGHTS

Sponsor reserves the right to modify these Official Rules (e.g., add rules or to clarify any or all of the rules) at any time during the Contest. Any such additions or clarifications will be posted with these rules, and Sponsor will have no further obligation to announce or publicize such additions or clarifications. Likewise, Sponsor reserves the right to make exceptions to the Rules in its sole discretion and without further obligation to other Entrants.

5. LICENSE

By entering the Contest, all Entrants grant an irrevocable, perpetual, worldwide, nonexclusive, royalty-free license to Sponsor and its related companies to reproduce, distribute, and display the Submission: in connection with the Contest and promotion of the Contest, including, but not limited to terrestrial broadcasts, streaming, digital, internet, and/or via any other platform or media now known or hereafter developed. Sponsor will not be required to pay any additional consideration or seek any additional approval in connection with such use. Sponsor or its related organizations may use the name and likeness of winning Entrants, any accompanists and the full Submissions for advertising, fundraising, promotional or publicity purposes without further compensation or approval. Any finalist(s) who is a minor must provide a signed copy of Sponsor's parent/legal guardian consent form to be provided by Sponsor. Winners and accompanists (or their parent/legal guardian) will be required to sign a release and affidavit documenting agreement to the terms herein, including without limitation a license to use name, image and likeness of all relevant participants, a license to use all Submission materials, a release of Sponsor and the Released Parties from any claims associated herewith, and otherwise confirm compliance with the terms herein. Failure to execute and deliver this affidavit and release within the time frame requested by Sponsor may result in disqualification in Sponsor’s sole discretion, in which case the Entrant with the next highest vote total will be deemed the winner.

6. WINNER SELECTION

Every eligible Submission will be considered. Selection will be made according to the following process.

Judging Stage: Eligible Submissions will be judged by a Sponsor-appointed panel of judges pursuant to the following guidelines, requirements, and criteria to choose up to five (5) finalists in each category for the voting stage of the Contest:

• Relevance to Theme (20%): Submission’s success and relevance in celebrating women in classical music;

• Quality of Performance (30%): Technical and musical quality of the performance;

• Quality of Essays (30%): Content and style of written essays; and

• Overall Presentation (20%): Thoughtfulness and professionalism of entire Submission.

In the event of a tie, the tied entry with the highest score in the Quality of Performance criteria will be deemed the finalist. If the tied entries are still tied, the tied entry with the highest score in the Quality of Essays criteria will be deemed the finalist, or Sponsor may decide in its sole discretion to select both of the tied parties as finalists. Sponsor will not disclose judging scores. Decisions of the Sponsor and judges in the selection and determination of finalists, prize winners and all matters relating to this Contest are final and binding.

Public Voting Stage: Following the determination of the selected finalists, Sponsor shall provide access to the finalists’ Submissions via the Contest website, social media outlets and other marketing channels to facilitate consumer voting to choose the winner in each category. The voting period shall commence on or about 12:01 a.m. CT May 20, 2026, and end on or about 11:59 p.m. CT June 7, 2026 (the “Voting Period,” subject to change at Sponsor’s sole discretion). Should the voting date(s) change, Sponsor will prominently announce the new dates via the Contest website. During the Voting Period, individuals may vote for their favorite finalist via the Contest website. Limit one (1) vote per person during the Voting Period.

In its sole discretion, Sponsor reserves the right to disqualify any Entrant/Submission should the voting process appear to have been tampered with or manipulated in any way. In its sole and absolute discretion, Sponsor reserves the right to disqualify any votes deemed to be fraudulent, in violation of these Official Rules, or in any way contrary to these Official Rules which would be unfair to other finalists or that would otherwise undermine the integrity of this Contest. Votes that have been tampered with, reproduced, falsified, or altered are void. Votes are subject to verification at any time.

Selected finalists may use their social media platforms and other forms of media to encourage consumers to vote for their Submission. However, obtaining votes by any fraudulent or inappropriate means, including vote-bartering, bribes, threats or offering prizes or other incentives to members of the public, is prohibited. Sponsor reserves the right to request proof (in a form acceptable to Sponsor – including, without limitation, government-issued photo identification) for any votes entered, or purportedly entered, to be considered valid for the purposes of this Contest. Where requested, failure to provide such proof to the satisfaction of Sponsor may result in a disqualification of the Entrant/Submission receiving such questionable votes. If it is discovered or reasonably suspected in Sponsor’s sole discretion that attempts were made to: (i) use (or attempt to use) multiple names, identities, email addresses and/or any automated, macro, script, robotic or other systems(s)/ program(s) to submit votes; (ii) engage in any form of proxy voting scheme or (iii) engage in any behavior deemed to be in violation of the letter and/or spirit of these Official Rules, Sponsor reserves the right, in its sole and absolute discretion, to disqualify the implicated finalist.

Following the close of the Voting Period, the Sponsor-appointed panel of judges shall review the voting results for accuracy and any potential voting irregularities. The finalist with the highest number of valid and confirmed votes in each category shall be deemed the winner.

7. PRIZES

The winners will receive the following prizes:

1. $12,500 to the Preprofessional Musician winner and $7,500 for the Emerging Artist. We will award each prize to one winner or divide the prize amount among more than one winner if there is a tie in the voting process for either or both categories.

2. Recording studio time at a recording studio chosen by Sponsor and for a duration to be determined by Sponsor in its sole discretion. The studio session will include photo, audio and video recording of the winner’s musical performance and an interview to be conducted by Sponsor. Sponsor will own all rights in this content for future promotional purposes ($950 approximate value).

3. Multichannel marketing ($4,000 approximate value).

4. Invitation to perform submitted piece of music for the MPR board of directors.

Total prize package approximate retail value: $17,450 for Preprofessional Musician category and $12,450 for Emerging Artist category.

Use/broadcast of winner’s video and performance are not part of the prize, and Sponsor has no obligation to broadcast the video performance. All other costs and expenses related to prize acceptance, delivery, redemption or use not specified herein as being provided are the sole responsibility of winner. All income, federal, state and local taxes are winner’s sole responsibility. All prize awards are nontransferable, and no cash redemption or prize substitution allowed, except at Sponsor’s sole discretion or as provided herein. Sponsor reserves the right to substitute a prize with one of comparable or greater value, at its sole discretion. Failure to collect or properly claim a prize in accordance with these rules will result in forfeiture of the prize. If any portion of the prize is forfeited for any reason, winner will not receive any other prize substitution or compensation. Any unclaimed prizes will not be awarded.

8. GENERAL/LIABILITY

The Entrant acknowledges that by entering the Contest, the Entrant agrees (i) that no form of cheating will be tolerated, specifically including, without limitation, vote fraud, vote sharing, vote exchanges, vote purchases or any other methods that artificially increase the number of votes received for a Submission, as determined in Sponsor’s sole discretion, (ii) that the performance may not be edited prior to submission, and (iii) that the Entrant and the Submission meet all requirements of these Official Rules. Any persons found cheating or otherwise violating the Official Rules, as determined in the sole discretion of Sponsor, may be immediately disqualified from the Contest. By entering this Contest, Entrants agree to abide by these Official Rules as stated herein and the decisions of Sponsor and judges, which are final and binding in all matters pertaining to this Contest. Additionally, by participating, Entrants agree to comply with the terms of use and other contracts and policies governing any related website.

By participating, Entrants agree to hold the Sponsor, judges, the applicable social media sites and their respective parent companies, subsidiaries, affiliates, suppliers, distributors, advertising/promotion agencies, and each such company’s officers, directors, employees and agents (collectively, the “Released Parties”) harmless from any claims, losses, actions, or damages of any kind, whether actual, incidental or consequential, for injury (including but not limited to death), damages, losses or expenses arising out of or relating to Entrant’s participation in this Contest, or the acceptance, possession or use/misuse of any prize, or participation in prize-related activities (including but not limited to travel or activity related thereto), and to assume all liability therefor. Furthermore, the Entrant agrees to indemnify and defend the Released Parties from any third-party claims associated with the Submission, participation in the Contest and use of the prize, including without limitation injury, death or claims for monetary damages.

9. LIMITATIONS OF LIABILITY

By participating in this Contest, Entrants agree the Released Parties have no liability whatsoever for any injuries, losses, or damages of any kind which result from use of the prize, or by participation in the Contest, are not responsible for interrupted or unavailable network server or other connections, miscommunications, failed telephone or computer transmissions or jumbled, scrambled or misdirected Submissions or transmissions, or for phone, electrical, network, computer hardware or software or program malfunctions, failures or difficulties or for other errors, omissions, interruptions, or deletions of any kind whether human, mechanical or electronic, or for any damage to any person’s computer related to participating in the Contest. Sponsor and its affiliated organizations, their agents and employees are not responsible for illegible, unintelligible, late, lost or stolen Submissions or mail or incorrect or inaccurate entry information, whether caused by Internet users or programming associated with or utilized in the Contest or by any technical, typographical or human errors that may occur in the processing of any Submissions in, or the administration of, this Contest. Persons found tampering with or abusing any aspect of this Contest, as solely determined by Sponsor, may be disqualified and may be subject to prosecution. If in the sole judgment of Sponsor, the Contest is compromised by viruses, bugs, nonauthorized human intervention, harassment or other causes which otherwise corrupt or interfere, or may corrupt or interfere, with the administration, security, fairness, safety or intended facilitation of the Contest, Sponsor reserves the right, in its sole discretion to discontinue, suspend, modify or terminate the Contest and proceed in a manner it deems fair and reasonable, which manner shall include the selection of winners from among eligible entries received prior to such discontinuation, suspension, termination or modification.

CAUTION: ANY ATTEMPT TO UNDERMINE THE LEGITIMATE OPERATION OF THE CONTEST IS A VIOLATION OF CRIMINAL AND CIVIL LAWS. SHOULD SUCH AN ATTEMPT BE MADE, SPONSOR RESERVES THE RIGHT TO SEEK DAMAGES OR OTHER REMEDIES FROM ANY SUCH PERSON(S) RESPONSIBLE FOR THE ATTEMPT TO THE FULLEST EXTENT PERMITTED BY LAW. In the event of a dispute as to the identity of a winner based on an email address, the winning entry will be declared made by the authorized account holder of the email address submitted at time of entry. “Authorized account holder" is defined as the natural person who is assigned to an email address by an internet access provider, on-line service provider or other organization (e.g., business, educational institution, etc.) that is responsible for assigning email addresses for the domain associated with the submitted email address. SPONSOR MAKES NO WARRANTIES OF ANY KIND, EITHER EXPRESS OR IMPLIED, INCLUDING, BUT NOT LIMITED TO, IMPLIED WARRANTIES OF MERCHANTABILITY, FITNESS FOR A PARTICULAR PURPOSE OR NONINFRINGEMENT AS REGARDS TO A PRIZE OR ANY COMPONENT OF A PRIZE.

10. PUBLICITY RIGHTS

By participating in this Contest, each Entrant agrees to allow Sponsor, and/or its designees the perpetual right to use their Submissions, name, personal information, photos and/or likeness, and statements for Contest, trade, commercial, entertainment, advertising and publicity purposes, at any time or times, in all media now known or hereafter discovered, worldwide, including but not limited to the Internet, without notice, review or approval and without additional compensation, except as and where prohibited by law.

11. DISPUTE RESOLUTION AND CHOICE OF LAW

Issues concerning the construction, validity, interpretation and enforceability of these rules shall be governed by the laws of the State of Minnesota. All disputes arising out of or connected with this Contest will be resolved individually, and without resort to class action, exclusively by the appropriate federal or Minnesota State Court located in Hennepin County, Minnesota. Should there be a conflict between the laws of the State of Minnesota and any other laws, the conflict will be resolved in favor of the laws of the State of Minnesota. All judgments or awards shall be limited to actual incurred out-of-pocket expenses (excluding attorneys' fees) associated with participation in this Contest and shall not include any indirect, punitive, incidental and/or consequential damages.

12. CONTEST SPONSOR

Minnesota Public Radio, 480 Cedar Street, St. Paul, MN 55101, 651-290-1500

Below are answers to common questions for the 2026 Karin Larson YourClassical Prize. Please read before entering and also refer to the Prepare Your Entry and Official Rules links for more details. If you have questions, please email us at karinlarsonprize@mpr.org.

Why should I submit to the 2026 Karin Larson YourClassical Prize?

The Karin Larson YourClassical Prize is an exciting opportunity for young emerging and preprofessional musicians to showcase their talents through a focus on celebrating women in classical music. Entering offers the following opportunities:

• Experience selecting a piece of music to match our purpose of celebrating women in classical music.

• Experience preparing a video presentation of your musical talent.

• Experience writing succinct, compelling essay question responses.

• If a finalist, having your entry featured on YourClassical MPR’s website and promoted for public voting.

• If a winner, receiving a cash award, an invitation to perform for the MPR Board of Directors, and an audio/video recording and photography session in MPR’s renowned Maud Moon Weyerhaeuser Studio with the potential of excerpts being featured for the YourClassical audience.

What is required for submission?

All entrants are required to submit:

• A link to a recently recorded video of a piece of music that celebrates women in classical music. The video performance can be up to seven minutes in length, should be a continuous solo performance (an accompanist is permitted), and should be an original video (not a video by a third party). Please see below for more information on preparing your video submission.

• Two essays up to 250 words each: one explaining why you selected your piece and how your submission celebrates women in classical music, and one describing what winning the prize would mean to you personally.

Who is eligible?

• If you are a current high school student, ages 14-18, you can enter the Emerging Artist category.

• If you are post-high school, ages 18 to 28, you can enter the Preprofessional Musician category.

• Be a resident of Minnesota. Please see our Official Rules for our residency requirements.

• Professional musicians are not eligible. Please see our Official Rules for our distinction between a nonprofessional and professional musician.

• Previous winners of the Karin Larson YourClassical Prize are not eligible to participate.

If you are under 18, you must review the Official Rules with your parent or legal guardian and have permission from your parent or legal guardian to participate in the contest. Written permission will be required of all entrants under 18 who are selected as finalists before they can be included in public voting and win a prize.

What are the awards?

The cash awards per category are:

• Emerging Artist: $7,500

• Preprofessional Musician: $12,500

The winner in each category also receives an invitation to perform before the MPR Board of Directors and a recording session in MPR’s renowned Maud Moon Weyerhaeuser Studio. The session includes audio and video recording as well as photography.

What are the deadlines and timelines?

• Complete entries must be submitted by 11:59 p.m. central on March 31, 2026.

• Finalists will be announced on May 20, 2026, and public voting for one winner in each category will be held from May 20, 2026, through 11:59 p.m. Central on June 7, 2026.

• Winners will be announced on June 12, 2026.

How are submissions judged?

Eligible submissions will be judged by a YourClassical-appointed panel of judges who will choose up to five finalists in each category for the public voting stage. Submissions will be judged by the following weighted criteria:

• Relevance to theme (20%): Submission’s success and relevance in celebrating women in classical music.

• Quality of performance (30%): Technical and musical quality of the performance.

• Quality of essay (30%): Content and style of written essays.

• Overall presentation (20%): Thoughtfulness and professionalism of entire submission.

Is there anything I should keep in mind when recording my entry video?

To enter the Karin Larson YourClassical Prize, you must submit an original video (not a video by a third party) that can be up to 7 minutes in length. The video should be a continuous solo performance. An accompanist is permitted. Entrants are allowed to fade out their video at seven minutes, or at an earlier natural place, if the recorded performance is longer. All videos that are submitted will be judged equally by the criteria, including overall presentation. Below are some ideas on how to prepare your video:

• The video should be clear and visible.

• The soloist of the performance should be the focal point.

• The soloist should be facing the camera in at least one angle.

• The audio should be clear and audible.

• Consider using simple but interesting backgrounds that enhance the performance rather than detract from it.

• The video should be one continuous performance without any internal blackouts, fades or edits. Soloist should remain on camera the whole time.

• Consider how your attire supports your overall presentation.

How will YourClassical manage submission information?

Submission data will be shared with YourClassical staff participating in administering the contest and judging submissions. We will not publicly publish submission data.

Finalists in each category will be required to release the following submission data for participation in the public voting: first and last name, city of residence, video performance, and essay question responses. Anyone under age 18 will be required to provide a signed parent or legal guardian release to participate in public voting.

Any personally identifiable information sent to, shared with, or collected by American Public Media Group on this website is subject to APMG’s Privacy Policy.

Minnesota Public Radio, 480 Cedar Street, St. Paul, MN 55101, 651-290-1500

Public voting for the 2026 Karin Larson YourClassical Prize is now closed. The Emerging Artist winner will be announced on June 12. Below you will find the entries of each of our finalists, including the video of their performance and their answers to the essay questions. Videos and essay question answers are presented as submitted by the finalists.

To view finalists in the Preprofessional Musician Category, visit this page.

Emerging Artist Finalists

• Gaia Daniel
• Clara Dunne
• Ariella Kim
• Lorelei Schoenhard
• Lucy Zhang

Gaia Daniel

From: Minneapolis

Title of work: "Dreaming" and "Fireflies" from Four Sketches opus 15

Name of composer: Amy Beach

Share your story of why you selected your piece and how it celebrates women in classical music.

I chose a piece by Amy Beach because I admire how she overcame tremendous hurdles in the male-dominated world of classical music. Throughout her life, her parents disapproved of a performing career and her husband banned her from playing in public more than once or twice a year. So, instead she turned to composition, where she was free to express herself. Performing this piece for a wide-reaching audience on the radio would be empowering for me as a woman because Beach was rarely able to perform her compositions under her confinement. By bringing this piece to light, I hope to encourage others to explore Beach's works and support female composers, past and present.

"Dreaming" holds a special place in my heart, as its sorrow and longing in this piece perhaps reflects the social and musical isolation Beach was subject to. I love how Beach creates a haunting melody with complex harmonies even though most of what she learned about music theory she taught herself from studying scores. "Fireflies," in contrast, demands virtuosity, and the light and fluttery yet brilliant atmosphere hints at the joy and optimism she found in composition. The brilliance of this piece is especially impressive considering her minimal formal piano instruction. Beach persevered, though, and her works still resonate despite having to face more obstacles than men to gain the same recognition. She was instrumental in supporting her fellow female musicians, such as co-founding and serving as the first president of the Society of American Women Composers.

Tell us what winning the prize would mean to you personally.

Both my mom and my grandma are classical musicians, but had to put their career aside for family. Like Amy Beach, they faced obstacles in their performing careers. Yet, they have supported me on my musical journey so much and are a big part of the reason I am where I am today. Winning this prize and getting formal recognition would support me continuing the lineage of female classical musicians in my family. Doing so by playing a woman composer I admire celebrates not only my family's heritage but helps elevate women composers out of obscurity.

The prize money would also support my growth as a performing artist by helping cover the cost of classes and enabling me to attend prestigious music festivals and international music competitions, where I get to perform on major stages and get masterclasses from groundbreaking, world-class artists who inspire and encourage me to continue my journey. By meeting these artists, I get the chance to experience what a professional performing career can look like, something musicians like Amy Beach didn't have the chance to until her husband died. Because many women in the past didn't have the means or support necessary to take part in these kinds of events, it would be especially meaningful to take part in them as a woman myself.

Clara Dunne

From: St Paul, Minnesota

Title of work: Troubled Water

Name of composer: Margaret Bonds

Share your story of why you selected your piece and how it celebrates women in classical music.

It is no secret that classical music has not always been as inclusive as it is today, and as musicians, we know that there is still much work to be done. Troubled Water by Margaret Bonds celebrates the intersection of classical music and African American culture in a time when neither people of color nor women were necessarily accepted as part of the classical music community. Dating back hundreds of years, the exclusion of women from all areas of society restricted some of the most powerful and influential voices in music. We often hear stories of Clara Schumann and Amy Beach, of Fanny Mendelssohn and Cécile Chaminade. We hear about the barriers they broke in their time and their push for the rights to express themselves as female composers. What we hear less about are composers like Florence Price and Margaret Bonds, who pushed gender and racial boundaries and stretched the strict molds of classical music to fit their revolutionary ideas and sounds. It is important to celebrate all women in classical music, and the work I selected demonstrates just how incredible these women were. Troubled Water by Margaret Bonds blends the spiritual 'Wade in the Water' with traditional classical techniques to create a beautiful and powerful piece of music that reflects the time in history at which the piece was written.

Tell us what winning the prize would mean to you personally.

Winning this prize would greatly benefit my future as a musician. I am planning to study piano performance at Lawrence University this fall, and am looking forward to continuing my lifelong passion for music and piano through college and beyond. After college, I would like to fill my life with music even more than I do now, and work with other musicians to create art I am proud to share with the world. Winning this prize would make the future I'm dreaming of more accessible and even more exciting than it is. There are few greater joys for me than sharing music with someone and watching as it takes them over. Whether that is putting on a song for someone I think they'll like or playing a piece for my great-grandmother that she knows and loves, the look of interest, pride, or joy on their face is worth every minute of time and work it takes to find or prepare that music. In choosing this path and program, I am dedicating the 14 years I've spent on my craft to the joy it brings me and others to play and listen to music, and I am planning a life for myself that makes plenty of room for this joy.

Ariella Kim

From: St. Paul, Minnesota

Title of work: Nocturne for Violin and Piano

Name of composer: Ariella Kim

Share your story of why you selected your piece and how it celebrates women in classical music.

As a young composer, I wanted to showcase my own work and perform it to share my voice and creative identity as a woman in the classical music world. I have composed various pieces in the past, but this is the first time I have written one for myself to perform. Playing a piece from my imagination is a freeing experience: it allows me to have a unique vision for how the piece should sound and which characters should emerge, without being inhibited by past interpretations. My artistic style has been influenced by the many amazing women composers who have come before me, from Clara Schumann to Valerie Coleman to my own compositional mentor, Sarah Miller. Their music has shaped how I think about color and storytelling in many of my pieces. However, I find it disappointing that women artists, throughout history and even today, are often overlooked. This lack of representation is something that I want to challenge. By performing my own work, I hope not only to celebrate the legacy of women in classical music but also to continue it. My goal is to honor the women musicians who have come before me while also inspiring younger girls to pursue paths in composition and violin. This piece, 'Nocturne', is both a celebration and a statement: it is a way for me to speak up and be part of a new generation that pushes for greater recognition of female composers and their inclusion in the 'standard' repertoire.

Tell us what winning the prize would mean to you personally.

This prize would allow me to expand my performance opportunities in violin and to work on more complex composition projects. Specifically, I would love to work on interdisciplinary projects that combine visual artistry with original music. When I performed my own piece during the recording for this prize, I appreciated how performance further connects me to a work of music and offers creative ideas I can use compositionally in the future. I believe that, just as performance and composition go hand in hand, so do various other art forms. Creating something that could combine these arts, whether it's painting, animation, poetry, or music, would allow me to continue my passion for producing meaningful works in a deeper and broader way. This prize would allow me to invest in useful programs and equipment for these future projects, as well as encourage me to continue performing my own works on the violin and piano. It would also give me opportunities to study in intensive composition summer programs and to meet like-minded young women composers and mentors. Ultimately, winning this prize would empower me to grow as a performer and to connect with others who share my passion for both composition and performance.

Lorelei Schoenhard

From: St. Cloud, Minnesota

Title of work: Humoreska

Name of composer: Grazyna Bacewicz

Share your story of why you selected your piece and how it celebrates women in classical music.

Grazyna Bacewicz (1909-1969) lived in a time of profound social, political, and musical change. After graduating from Warsaw Conservatory, she travelled to Paris, where she studied violin with Carl Flesch and composition with Nadia Boulanger. On returning to Poland, she served as concertmaster of the Polish Radio Orchestra. During the war, she performed in underground concerts and composed works that later established her reputation, when premiered following cessation of hostilities. At that point, she likely would have achieved greater international acclaim had she been situated on the other side of the Iron Curtain, but instead her successes placed her more modestly at the center of Polish musical life, under the scrutiny of the state authorities. Amidst competing demands for academic serialism in the West and nationalist anthems in the East, she wrote with her own unique voice, becoming one of the most prolific of all female composers.

As a violinist and chamber musician, I was first drawn to Grazyna Bacewicz's music through her violin concertos and string quartets. To me, these pieces are a perfect balance of the modern and the accessible, and a welcome change from the standard repertoire. Today, I have chosen to play "Humoreska" based on the similarity of its title to Dvorak's "Humoresque" (the latter being my mother's favorite piece from her three daughters' Suzuki years). Like its better-known Bohemian cousin, Bacewicz's "Humoreska" is a joy to play and a reminder that we should all find time to laugh, no matter the challenges we face.

Tell us what winning the prize would mean to you personally.

A musician must continually seek connections with her audience, her instrument, and herself. If I were to win the 2026 Karin Larson Prize, I would hope to further these connections with the help of each component of the award. Foremost, I would be grateful to know that my music had connected with MPR listeners. As my contest entry is a modern composition unlikely to be known to listeners before they hear my interpretation, I would hope that votes for my entry would represent affirmation of my ability to connect with an audience. Of course, for a violinist, an emotional connection with an audience is only possible because of a physical connection between bow and string. To improve this latter connection, I would be grateful to receive funds sufficient to purchase a more delicate bow, so that I might deliver more nuanced performances as I advance in my musical training. Finally, I would be grateful for the use of the MPR Maud Moon Weyerhaeuser Studio, so that I might hear myself play through high-fidelity recording and thereby improve my artistry. Strange as it might sound, a violinist never hears herself in the same way as her audience, as she is in direct contact with her instrument and her audience is not. I would love to better my sound with the self-analysis that accompanies a studio recording session. Thank you so much for a chance at this opportunity.

Lucy Zhang

From: Edina, Minnesota

Title of work: Violin Concerto No 1, Op 26, I. Vorspiel. Allegro moderato

Name of composer: Max Bruch

Share your story of why you selected your piece and how it celebrates women in classical music.

Great music lives not only through the notes on the page, but through the musicians who bring it to life. For my video submission, I chose the first movement of Violin Concerto No. 1 in G minor, Op. 26 by Max Bruch because this piece has challenged and inspired me with its emotional depth, dramatic energy, and lyrical expression. Although it was composed in the 19th century, how this concerto is experienced today continues to be shaped by performers who bring their own voices and perspectives to it.

I have been deeply inspired by the performances of Hilary Hahn, especially her interpretation of the opening theme. Her playing combines extraordinary clarity, expressive phrasing, and musical honesty, and watching her shaped how I think about tone, line, and storytelling in this concerto. In particular, I was moved by how she begins the work with a long, singing line in the G minor theme, shaping each note with intention and emotional nuance. Studying her performance helped me develop my own musical interpretation.

Women like Hilary Hahn continue to shape the classical music world, inspiring young musicians to pursue their own voices. Through my performance of this concerto, I hope to honor the artistry of women performers and celebrate their leadership in shaping how audiences experience classical music today.

Tell us what winning the prize would mean to you personally.

Winning the Karin Larson YourClassical Prize would mean a lot to me because it recognizes not just the hours I spend practicing, but the journey behind each note. Music has always been a big part of my life — it helps me focus, express myself, and connect with others in ways words can't. As the descendant of first-generation immigrants, I grew up in a family that deeply values music. My grandfather plays violin, and though my father never had the chance to study music as a child, he has always encouraged me to pursue it fully, which makes my own musical journey especially meaningful.

Learning Bruch's Violin Concerto No. 1 has pushed me to grow technically and emotionally, and studying Hilary Hahn's performance has shown me how a musician can tell a story with every phrase. Being the concertmaster of the GTCYS Philharmonic last season, when we performed Scheherazade, taught me how to lead, collaborate, and take responsibility for an ensemble. Balancing school, music, and volunteering can be challenging, but these experiences have shaped me into a more confident and thoughtful musician.

Winning this prize would encourage me to keep exploring music, continue developing my own voice, and honor the women who inspire me — teachers, role models, and performers like Hilary Hahn. It would remind me that every practice, performance, and leadership moment contributes to my growth, and that I can use my music to inspire others as so many women have inspired me.

Read the official rules

Public voting for the 2026 Karin Larson YourClassical Prize is now closed. The Preprofessional Musician winner will be announced on June 12. Below you will find the entries of each of our finalists, including the video of their performance and their answers to the essay questions. Videos and essay question answers are presented as submitted by the finalists.

To view finalists in the Emerging Artist Category, visit this page.

Preprofessional Musician Finalists

• Andy Kocher
• Tina O’Malley
• Timothy Pinkerton
• Elisa Schiller
• Christina Uhrenbacher

Andy Kocher

From: Savage, Minnesota

Title of work: Variations On Japanese Children's Songs

Name of composer: Keiko Abe

Share your story of why you selected your piece and how it celebrates women in classical music.

Keiko Abe is a marimba performer/composer whose career created the landscape of concert marimba we have today. She has premiered over 180 compositions in addition to the over seventy works she has composed herself, and had a hand in the creation of the five octave version of the instrument that has become standard in recent years. "Variations on Japanese Children's Songs" exhibits her unique compositional voice, blending classical, folk, and contemporary elements into a vibrant and exhilarating work. The piece uses these elements as well as Japanese cultural references to evoke imagery, such as a market with street vendors singing in various back alleys, or walking in geta (wooden sandals) across a wood bridge. Marimba is still a fairly new and obscure instrument in the context of classical music, and I believe this piece highlights not just the technical capabilities of the marimba, but also its unique potential for expression.

Keiko Abe's influence can be felt by everyone in the marimba world, but my hope is that by selecting this piece, her music can reach people in the wider music community that may not have heard it otherwise, especially given that female composers have often been overlooked in classical music. Her music was one of the first things that made me interested in the marimba, and continues to serve as one of my biggest inspirations musically. I hope everyone enjoys it as much as I do!

Tell us what winning the prize would mean to you personally.

As someone who decided to go down the path of performance just a few years ago, receiving this prize would mean a great deal. It's easy to be clouded by anxiety and doubt as a performer, but my most rewarding experiences in music have always come with a leap of faith. This has taught me how to put myself out into the world and be vulnerable, especially when it's difficult. Winning this prize wouldn't just affirm my abilities as a performer, but it would be a sign that I've been able to truly connect with other people as a musician, and hopefully move people with this music the same way it has moved me.

Tina O’Malley

From: New Brighton, Minnesota

Title of work: "When I was a Little Girl" from A.E. Reverie

Name of composer: Kamala Sankaram

Share your story of why you selected your piece and how it celebrates women in classical music.

This piece, excerpted from the one-woman chamber opera A.E. Reverie by Kamala Sankaram, celebrates living women artists who are telling distinctly women-centered stories. Ms. Sankaram is a woman of color who is a member of MN Opera's New Works Initiative Cohort and whose new opera is opening MN Opera's upcoming season. A.E. Reverie is about a young woman who reveres Amelia Earhart and covets the freedom that Ms. Earhart experiences flying around the world, seemingly unrestrained by the same rigid gender norms imposed upon herself and other women in 1929 in the U.S. She feels different from other girls and misunderstood by her family and friends. I performed this piece this past fall and upon my conversations with the director, librettist, and composer, I concluded that this character is queer-coded and celebrates the many facets of gender expression before having the language to express her identity. This entire piece is a celebration of women throughout history who so desperately wanted a voice or tried hard to exercise their voice but felt powerless and unheard. I recognize these queer women of the past with such love and pride as their struggles heralded a time when more women are able to be their authentic selves and have the freedom to pursue the life that they desire for themselves. This queer girl is forever grateful to the bravery of those women who paved the way, and I find such joy in celebrating the legacy of these women onstage through song.

Tell us what winning the prize would mean to you personally.

This past year has been hard. While I have made more progress than ever before, both technically and professionally, challenges in my personal life have begun to hinder my professional success. My disabled brother has been hospitalized on a ventilator since August, and until then, I never would have imagined taking an emergency flight home from a summer opera program in Berlin hoping to make it home in time to say goodbye to my big brother. He miraculously survived, defying the odds, but his health continues to deteriorate. I have poured my entire heart into every single performance this season because every moment spent pursuing this wild career as a classical musician comes with massive sacrifice, but at the core of my artistry is the people I love. Winning this prize would mean that despite this difficult time, I can continue to do what I was put on this earth to do, fund projects in my community and beyond highlighting works of living women composers, and have a financial security net to be able to live close to my brother and help care for him while also having the necessary funds for audition trips to NYC. This is the first major time in my career that I have had to step back, reassess what is most important to me in life and determine how to find balance. I'm feeling a bit lost right now, but it has always been my beloved art form that shows me the way forward.

Timothy Pinkerton

From: Bemidji, Minnesota

Title of work: Three Pieces for Violin and Piano: I. Nocturne II. Cortège III. D'un matin de printemps

Name of composer: Lili Boulanger (1893-1918)

Share your story of why you selected your piece and how it celebrates women in classical music.

French composer Lili Boulanger deserves recognition as a tenacious, brilliant, and innovative musician who made a remarkable impact with her compositional output, despite her tragically short lifespan. Lili suffered many chronic health issues beginning at the age of two — the same age that her musical precocity became realized— and battled continuously until her death at age twenty-four. Her own trials, combined with the death of her father when she was seven, informed much of her music's context and impression.

I first encountered Lili Boulanger's work while playing the orchestral version of D'un matin de printemps at school with the Minnesota Orchestra's Sarah Hicks conducting. This past summer, I discovered the violin and piano pieces and at once fell in love with the sound world and storytelling that Boulanger achieves so effortlessly. When performing the Nocturne, I envision a mother singing her child a lullaby, not just to put them to sleep, but to cultivate their imagination and sing of the wondrous night sky. To me, the Cortège depicts a young child walking through a garden, innocent and naïve of the real world around them. Finally, D'un matin de printemps utilizes a vast range of textures, each reminiscent of strong imagery: a gust of wind, a babbling brook, singing birds, croaking frogs, or a hint of a thunderstorm. While Lili Boulanger greatly suffered during her brief lifetime, the unique harmonic and imaginative qualities in her music have established her as one of the greatest compositional voices of the early 20th century.

Tell us what winning the prize would mean to you personally.

Akin to Lili Boulanger, I lost my father early in life, albeit to a terminal illness, when I was seventeen. The proverb "It takes a village!" has resonated with my upbringing to this point. Without so many incredible women in my life, I would not be where I am today — both physically and career-wise. Prominent inspirational women include my mother, many of my private teachers, collaborative pianists, orchestral mentors, chamber coaches, community orchestra members, and relatives, all who have not only guided me in my musical journey but have encouraged and advocated for me.

Being a recipient of the Karin Larson prize would not solely bring credit to my work but would highlight the investment of the countless women who have poured into my life. I owe so much to those who have sacrificed their time and knowledge for my sake and who have believed in my potential as an artist, and I aspire to one day give back to young artists in the ways that others have so graciously given to me.

Additionally, I aim to set an example for other young men in the Classical music industry by programming works by both living and past women composers, not just for the sake of programming statistics, but to properly celebrate and highlight women who deserve public awareness for the quality of their work. This is just one way in which we can honor the voices of women in our industry and encourage musicians to keep working in this difficult field.

Elisa Schiller

From: Bloomington, Minnesota

Title of work: "Légende"

Name of composer: Henriette Renié

Share your story of why you selected your piece and how it celebrates women in classical music.

I chose "Légende" by French harpist and composer Henriette Renié (1875-1956). This piece truly showcases the harp's virtuosic and expressive capabilities. Due to time constraints, I chose a few representative sections of the different themes in the piece. However, it is an incredible composition and well worth listening to in its entirety! Renié was a child prodigy, beginning her harp study at the age of eight with renowned harpist Alphonse Hasselmans and progressing so quickly that she began studying at the Paris Conservatoire a year later. By age thirteen, she was teaching students far older than she. At fifteen, she began giving solo recitals.

Renié utterly transformed harp performance and pedagogy. She blended sublime artistry with technical command, revolutionizing stereotypes regarding the harp’s capabilities. Not only did this influence the way the harp was viewed and played, but she overcame the barriers that stood against female professional musicians at this time. Her sheer excellence and musical accomplishments led to her wide renown as a performer, pedagogue, and composer (Jacy, 2021, 11-24).

This piece depicts the poem "Les Elfes" by French poet Charles-Marie-René Leconte de Lisle. Renié masterfully created a musical picture of the various emotions and images of this dreamlike, yet macabre poem. This stunning work showcases the excellence of a female composer while also celebrating the wide range of emotions women can convey. The poetic text of Renié's piece and musical images she expertly crafted challenge the stereotypes of her day that women can only be demure and quiet!

Tell us what winning the prize would mean to you personally.

I am still finding my voice in the professional music scene after earning my music degree. I have many opportunities to share the gift of music with my audience, but I have also found that you never stop learning. I have actively sought opportunities that can advance my career and help me continue to grow musically. Winning this competition would be such a gift to me as a harpist seeking more of these opportunities! Moreover, while the harp is a beautiful instrument with a rich history, it often gets overshadowed by "louder" or more "powerful" instruments. I adore the harp and want others to experience the depth that it can convey. Entering this competition is not simply for my benefit, but also to bring more visibility to the harp and challenge the stereotypes of it being simply an "angelic" instrument.

Beyond these reflections, I find that I identify with my instrument. I have been described as "shy" or "quiet" by people who do not know me well; yet, after they come to know me better, they are surprised by certain aspects of my personality! The harp, likewise, is quiet at first glance, and yet it can be a strong and powerful instrument too. Women's personalities come in every variety imaginable, and all are special and deserving of celebration. Those of us who seem quieter deserve celebration too. The harp reminds us that there is beauty in gentleness, and yet great strength and power can lie underneath a quiet surface.

Christina Uhrenbacher

From: Minneapolis, Minnesota

Title of work: Sonata in C# minor

Name of composer: Fernande Decruck

Share your story of why you selected your piece and how it celebrates women in classical music.

Taking listeners on a breathtaking journey, Fernande Decruck's Sonata in C♯ minor for alto saxophone and piano is a beautiful and moving work. Since the first time I heard this piece in high school, I have been enamored with the elegance and expressive depth in Decruck’s writing. As an important composer during the first half of the 20th century, she contributed many works to the saxophone repertoire. I chose this sonata because it is one of the most celebrated works in our repertoire today and showcases her impressionist-influenced style and the way the saxophone can gracefully paint immersive musical images.

Decruck's Sonata in C♯ minor is also one of the earliest major works for saxophone written by a female composer, and it is important to recognize how monumental it has become for our instrument. I have performed this piece many times throughout my studies, and the performance I am sharing was particularly meaningful. My dissertation research brought me to Mexico, where I lived for just under half a year. In December 2025, I was invited to teach and perform as a guest artist in San Luis Potosí­, where I presented the sonata as part of my program. I collaborated with pianist Malkuth Zavada, and together we brought the piece to life, highlighting both its technical virtuosity and its lyrical qualities.

Performing this work alongside another woman musician felt like stepping into a lineage of creativity that continues to shape our field.

Tell us what winning the prize would mean to you personally.

Being a woman in classical music has presented many challenges throughout my career so far. The saxophone field is largely male-dominated, and the number of times I have been the only woman in a chamber ensemble or jazz band is too many to count. As women, we often have to find our own ways to feel comfortable in the situations we're placed in. The journey can feel lonely and isolating, and our inner strength and resilience are constantly called to shine through. These experiences have shaped not only my musicianship, but also the kind of mentor I hope to become.

Receiving this prize would give me the freedom to begin impacting the saxophone and music world in meaningful ways. After I graduate in May, I will likely move either to Denver or back to Mexico and establish my own private lesson studio. Through this studio, I hope to cultivate an inclusive environment for all musicians, and especially for young female saxophonists. Neither location has many prominent female saxophone teachers or pedagogues, and it would be my dream to serve as a role model for aspiring players. As someone who never had a female lesson teacher or professor, I know it would be powerful and comforting to have a mentor you can truly relate to. This prize would help make that goal possible by providing the support I need to build and sustain this studio, allowing me to offer young musicians the guidance and representation I spent years searching for.

Read the official rules

The winner of the Karin Larson YourClassical Prize, Preprofessional Musician category, is Agnes Barthel of Duluth, Minnesota. Her entry featuring her organ performance of Cecilia McDowall’s “Church Bells beyond the stars” was chosen by YourClassical listeners as the submission that best celebrated women in classical music.

Barthel received $12,500, studio time in MPR’s renowned Maud Moon Weyerhaeuser Studio, and the opportunity to perform at an MPR board meeting in June of 2025.

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Agnes Barthel performs for the MPR Board

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Agnes Barthel’s winning Karin Larson YourClassical Prize, Preprofessional Musician category, entry

How does your video celebrate women in classical music? “Cecilia McDowall is a contemporary composer whose music brings fresh energy and beauty to the organ repertoire. ‘Church Bells beyond the stars’ showcases her distinctive, lyrical style and captures the shimmering resonance of church bells through flowing, cascading passages. Inspired by a poem by George Herbert, the piece evokes both grandeur and serenity, demonstrating the organ’s ability to create vivid, atmospheric soundscapes. Through works like this, McDowall helps keep the organ vibrant and relevant in the modern classical world; something that is deeply inspirational for young organists like myself. By choosing this piece, I hope to honor her contributions and help bring greater recognition to female composers who have often been overlooked. I also want to help inspire other young musicians, especially young girls, to explore music by women composers, and discover the powerful role we play in shaping the future of classical music.”

What would winning this prize mean to you? “Winning this prize would mean a great deal to me as a young organist who is passionate about this incredible instrument. I am especially committed to promoting music by women composers, and it would be an honor to help bring greater recognition to these works in the organ world, and beyond. Most of all, I think it would be a powerful way to show that the pipe organ is not just a historic or ‘dying’ instrument, but very much alive and full of exciting possibilities for the future. This prize would encourage me to continue learning, performing, and encouraging other young people to explore the organ, as we try to create space for new voices, perspectives, and a new generation of musicians in the current world of classical music.”

The winner of the Karin Larson YourClassical Prize, Emerging Artist category, is Anna Pitsavas Wakely of Northfield, Minnesota. Her entry featuring her violin performance of Pablo de Sarasate’s ‘Ziguernerweisen” Op. 20 was chosen by YourClassical listeners as the submission that best celebrated women in classical music.

Pitsavas Wakely received $7,500, studio time in MPR’s renowned Maud Moon Weyerhaeuser Studio, and the opportunity to perform at an MPR board meeting.

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Anna Pitsavas Wakely’s winning Karin Larson YourClassical Prize, Emerging Artist category, entry

How does your video celebrate women in classical music? “Spanish composer, Pablo de Sarasate, composed ‘Ziguernerweisen’ after becoming acquainted with gypsy ways… their song, their music style, their culture, their dance, and their customs. The female gypsy performers, whose prime instrument was always the violin, tantalized audiences with their passionate storytelling and dynamic lyricism. These underrepresented women, who had experienced much suffering and exile, poured their voices and lives into their performances, captivating composers throughout much of history. ‘Zigeurnerweisen’ celebrates these nationless mothers and daughters whose musical traditions continue to inspire classical music enthusiasts to our present day.”

What would winning this prize mean to you? “As a daughter of first-generation immigrant parents who have been a shining model of strength and beauty, and whose love of music has accompanied me from a very young age, I must say that being considered for such a prize would be but one token of my deepest appreciation for the sacrifices that they have made toward supporting my pursuit of classical music. It would be a tremendous gift that would go toward advancing my current commitments in music as well as my future goals in performance. I have come to find that the highly competitive world of performance can often be accompanied with criticism and skepticism. Earning such an esteemed prize would be a great accomplishment — a real recognition which has the potential to help foster the confidence to keep on playing! ”

The winner of the inaugural Karin Larson YourClassical Prize is Ammy Lin of Baxter, Minnesota. Her entry honoring female dizi (Chinese bamboo flute) performers and her teacher Gao Hong was chosen by YourClassical listeners as the submission that best celebrated women in classical music.

Lin received $20,000, studio time in MPR’s renowned Maud Moon Weyerhaeuser Studio, and the opportunity to perform at an MPR board meeting in June of 2024. "I just want to thank everyone for your support ...,” she said. “I hope everyone had as much fun listening to it as I had playing it!"

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Ammy Lin performs in the recording studios of Minnesota Public Radio. Lin plays the dizi, a Chinese bamboo flute, with accompanist Gao Hong on pipa. In the first video, they perform “New Song of the Herdsmen” and in the second video, they perform her submission piece, “Birds Singing in the Shade.”

In additional video clips available as YouTube Shorts, Ammy Lin speaks about playing the dizi, recording at Minnesota Public Radio, gives a Bangdi dizi demonstration, Qudu dizi demonstration, and finding her authentic voice.

Listen to Ammy’s interview with YourClassical MPR host John Birge:

Ammy Lin performs for the MPR Board

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Ammy Lin’s winning Karin Larson YourClassical Prize entry

AMMY LIN
Dizi (Chinese bamboo flute)
Baxter, Minnesota

How does your video celebrate women in classical music? “Until the past few decades, it was rare to have a female dizi (bamboo flute) performer. With the gradual change in societal perceptions of gender roles, an increasing number of women have begun to dive into the world of traditional music, although male dizi performers are still the majority. In other words, changing the perception of males having more expertise, being more physically capable and technically advanced for playing the dizi is still an ongoing struggle; however, I've always felt supported by my female teacher, Gao Hong, over the past year that I've been learning this instrument and look up to her for her expertise and dedication to uplifting other female voices. As such, being able to perform this piece with her is an immense honor and testament to the growing strength of female voices in the music community.”

What would winning this prize mean to you? “Winning this prize would mean so much to me along so many different levels. I started learning the dizi to become more in touch with my Chinese roots, and in the process, I've discovered many other aspects of myself. For instance, I was scared of performing and making my voice heard, always trying to blend into the background and conform to the model minority, female stereotypes placed upon me. Watching and having the honor to play with my teacher has motivated me to chase my dreams not only in music but in other aspects of my life. Winning this would be a moment of pride not just for myself but for everyone who has supported and believed in me along the way. It would be a dream realized, inspiring me to continue striving for excellence and pushing boundaries in everything I do.”