• 1971 – 1976

    studied at the Košice Conservatory (composition with Jozef Podprocký, piano with Marta Reiterová)

  • 1976 – 1981

    studied at the Academy of Performing Arts in Bratislava (composition with Andrej Očenáš)

  • 1981 – 1984

    taught music theory at a Primary Music School in Bratislava

  • 1984 – 1986

    received a stipend from the Slovak Music Fund

  • 1986 – 1989

    doctoral study at the Academy of Performing Arts in Bratislava (with Ivan Hrušovský)

  • 1989

    four-week residency in Budapest and Warsaw with funds from the Ministry of Culture of Slovak Republic

  • 1990

    free-lance artist

  • 1991

    four-week residency in Budapest and Warsaw with funds from the Ministry of Culture of Slovak Republic

  • 1992 – 1993

    sixteen-month residency in the Akademie Schloss Solitude in Stuttgart

  • 1994

    six-week “Visiting Composer” residency at the University of California in San Diego with funds from the Soros Foundation and the National Endowment for the Arts in New York

  • 1995

    short-term residency in the STEIM Studio in Amsterdam

  • 1995

    “Composer in Residence” at the Hamburg State Opera (three months)

  • 1999

    one-year residency at the Künstlerhäuser Worpswede in Germany

  • 2001

    composition commission of the Pro Helvetia Foundation in Zürich bound with the two month residence in the Künstlerhaus Boswil in Switzerland

  • 2002

    three months composition residency at the Künstlerwohnung in Stein am Rhein in Switzerland

  • 2010

    award "Zolliker Kunstpreis" from the foundation Hintermeister-Gyger-Stiftung (given to artists, acting in the canton Zurich)

"Szeghy’s work hitherto as a whole is remarkable for the quantity of compositional techniques assimilated. Two principal motifs are represented there: the tradition of European music of the last three centuries, and the avantgarde tendencies of the last fifty years, directed against that tradition. Inevitably, tension arises between these interests when they meet. Szeghy, however, does not elevate this inner conflict to the status of a central style-forming element. Her treatment of divergent material does not lead the listener to an awareness of 'shocking' contradictions; rather, her entire work is subordinated to a basic procedure: the 'new' is integrated into the 'old', and vice versa. In this synthetic process she places a distinct emphasis on defamiliarisation of the musical statement. She strives for this on the one hand by direct confrontation of the established 'traditional' texture with the ephemeral sonorousness of contemporary techniques of note-forming (including electro-acoustic music), while at other times she chooses immersion in a pre-selected form (e.g. ciaccona), seeking an interpenetration of objective and subjective elements in the space demarcated by this form. Other important motivating sources for Szeghy are the values coming from visual art (Hommage à Rodin), literature (Afforismi), and archaic folklore (Midsummer Night’s Mystery)."

(ZAGAR, Peter: Iris Szeghy. In: A Hundred Slovak Composers. Eds. Marián Jurík, Peter Zagar. Bratislava : National Music Centre Slovakia, 1998, p. 274.)