Born in 1956 in Prešov (Slovakia), she began composition studies at the Conservatory in Koäice (1971-76; she also studied piano there), continuing at the Academy of Music in Bratislava (1976-81). After completing her studies there, she stayed to do her doctoral work in composition (1986-89), obtaining the doctorate of arts. She won fellowships that took her to Budapest (1989), Warsaw (1991), Stuttgart (where she was composer-in-residence at the Akademie Schloss Solitude), the University of California, San Diego (1994, Soros Foundation grant), Amsterdam (steim Studio, 1995), Hamburg (1995, composer-in-residence at the Hamburg Opera), and Germany (1999, a year at the Künstlerhäuser Worpswede). In 2001 she received a composer's commission from the Helvetia Foundation in Zurich, including a two-month stay at Künstlerhaus Boswil in Switzerland. Her compositions have been broadcast by radio in many countries around the world and included in numerous festivals of new music in Europe (Hanover, Stuttgart, London, Bristol, Dartington, Paris, Warsaw, St. Petersburg, Kiev, Budapest, Prague, Brno, Bratislava, and others), as well as in Japan, South America and the United States. In 1992 her De Profundis was performed during the iscm World Music Days in Warsaw. Iris Szeghy has also won prizes in domestic and international composition competitions.

Selected works: Concertino for Symphony Orchestra (1981), Hommage à Rodin for violin and piano (1982), To You, four love songs for soprano, tenor, flute, viola, guitar and triangle (1983), Poetic Studies, piano trio (1984), Confessions for a cappella female chorus (1984), String Quartet (1985), The Game for a cappella children's chorus (1985), Suite into Pocket for guitar (1986), Psalm of a Starving Man for a cappella mixed chorus (1988), De Profundis, four canzonas for voice and two melodic instruments to texts by Michelangelo Buonarotti (1990), Three Shakespearean Songs for a cappella mixed female chorus (1990), Ciaccona per viola sola (1991), Aphorisms for flute (oboe), clarinet, and bassoon (1991), Aphorisms II for oboe, English horn and bass clarinet (1992), Midsummer Night's Mistery for two to four percussionists (1992), Ave Maria for soprano, viola, cello and bass (1992), Preludio e danza for bass clarinet (1992), Perpetuum mobile for piano (1993), Psalm for solo voice according to a poem by Paul Célan (1993), In Between for oboe and tape (1993), Oratio et gratias actio pro sanitate matris meae for four male voices (1994), Cello Concerto (1987-89), Story for voice and tape (1995), Variations on a Theme of a German Folk Song for three horns (1995), Musica folclorica (Hommage à Bartók) for clarinet, percussion and piano (1996), Homewards for orchestra (1997), Tableaux d'un parc for chamber group (1999), Bolero Blues (2000), It-Movements for chamber ensemble (2001), Canticum for accordion (2002).

The piece Canticum was commissioned by Boris Lenko, to whom it is dedicated.
I am happy that after years of inner preparations I managed to write a piece for an instrument, which has always fascinated me with its rich timbral and technical possibilities. My primary goal was to bring out a diversity of the accordion's expressive and visual qualities.
The piece is based on a simple chorale-like melodic line, which is subjected to various transformations as the musical material progresses. In its pure, untouched shape, this theme does not appear until the end of the piece. What we have therefore is not a theme with variations but variations with a theme. Admittedly fairly unusual, this is nevertheless merely a form in which the dynamic, attractive and sensuous music, which I intended to write, is cast.
Finally, a brief explanation why I am not able to be present at the 'Warsaw Autumn' performance of my piece and share the experience with Boris and the audience. The reason is personal. I am getting married on 19 September and on the day of the concert I shall be on my honeymoon. I hope the distinguished listeners will forgive me. I assure everyone that I shall be with you in spirit.
Iris Szeghy