Liesbeth Decrock (Ghent, 1990) holds a master’s degree in composition at the Royal Conservatory of Antwerp where she studied with Wim Henderickx and Luc van Hove. She participated several times in the SoundMine international composition masterclass organized by vzw Musica.
A preference for chamber music and atypical line-ups appears in the compositions De Eekhoorn (The Squirrel, 2015) for clarinet, harp and double bass; Ik weet het niet en het kan me werkelijk niets schelen, roepnaam: Iwein (I don’t know and I truly don’t care, dubbed: Iwein, 2016) for double bass and triple percussion; and Wentelingen (Turnarounds, 2017) for flute, clarinet, violin, cello and piano. Her selective style is further characterized by groovy rhythms, directness and the urge to please.
In 2019, Klarafestival selected her as composer for MusMA, a cooperation between several European music festivals and radio broadcasters. Commissioned for this, she writes I Am, a work about identity for vocal quartet and actress. The composition was performed by singers of the Swedish Radio Choir and actress Stina Ekblad, at 5 different festivals in Europe.
Compositions of Liesbeth Decrock were performed by ensembles and performers such as deFilharmonie, deCompagnie, Erik Westbergs vokalensemble, De 2de Adem, Matthias Coppens, Bram Fournier, Andrew Wise, Nikolaas Kende, and at festivals such as AlbaNova, Klarafestival, Wonderfeel and Wratislavia Cantans.
Choral work (selection)
- We would have been safe (with fragments from Extremely Loud & Incredibly Close by Jonathan Safran Foer, following the attacks on September 11, 2001)
- Fruitsla voor het koor, for mixed choir, bass guitar, vibraphone and fruit, 2018, originally in Dutch but also availabe in English as Fruit salad for the choir, 2019 and in an arrangement for choir, piano and fruit in both Dutch and English.
photo © Marije van den Berg
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