Rick van Veldhuizen was born in Tilburg in 1994. From an early age, he was motivated by his parents to participate in musical education, eventually leading him to take piano lessons from age 6 and start composing at age 11. After making it through some years of wild copying he began to gradually assemble a personal voice and started studying composition with Kees Schoonenbeek at the Young Musicians’ Academy of the Fontys Conservatorium Tilburg from 2008. Starting in 2009, he also studied piano there. In 2011, his piece reflections in a breaking glass door won the 1st Prize at the CoMA Maastricht composition competition.
After finishing secondary school in 2011, he took on to study composition at the Royal Conservatoire in The Hague (with Martijn Padding and Calliope Tsoupaki) and Dutch language and culture at Leiden University. A year later he chose to continue studying composition at the Conservatorium van Amsterdam with Joël Bons and Willem Jeths.
The years 2012-2015 have been dynamic years, as his compositions began to take on both a more autobiographical and a more political tone, more than once dealing with contamination and disintegration (of styles, structures, ‘bodies’). In 2012 his weltjugend U6  was Nexus Reedquintet’s pick for runner-up in the Calefax PAN composition competition. This piece sparked off a love for the use of pop-influenced electronics as another way of expression.
Partially because of his study in literature, he is very preoccupied with what his music, often in combination with text, can tell. In pieces such as […] quem lex subjungat and lacrimosa he has linked very personal themes with very universal and political themes such as xenophobia and perceptions of death. This culminated in the creation of (un)mensch for large concert band in early 2015, which is about Hitler and radicalisation as an integral part of humanity. This piece is a finalist at the International Composition Competition Harelbeke 2016.
Right now, he is trying to get to the core of his matter, still tackling big themes but with more intimacy in collaborative and multimedia works and small-scale music theatre pieces as well as songs which he performs himself.