Brieley Cutting is an Australian pianist whose career encompasses solo and collaborative performance, pedagogy, event curation, arts promotion, and practice-focused research. She is dedicated to honouring the traditions of classical music whilst supporting new music and innovative forms of presentation, research, curation, and collaboration. Brieley is known for bringing her trademark energy and refinement to the stage as a performer of solo and collaborative music, fostering talented piano students in regional and cosmopolitan centres in Australia, and being a passionate advocate for classical music, live music performance, and fellow artists.


As a performer, Brieley has appeared as concerto soloist with orchestras including the Melbourne Symphony, Adelaide Symphony, Queensland Symphony, Melbourne Youth Orchestra, and the Nizchny-Novgorod Philharmonic. In Australia, she has performed at venues including Melbourne's Hamer Hall, Town Hall, and Iwaki Auditorium; Sydney's City Recital Hall and Eugene Goossen's Hall; the Adelaide Town Hall; the Queensland Performing Arts Centre Concert Hall; Tasmania's Mona; for organisations such as ABC Classic FM, 4MBS, and Musica Viva; and at festivals including the Piano Mill at Stanthorpe, and the Tyalgum, Bangalow, Australian Piano Duo Festivals.


Collaboration remains central to Brieley’s concert performance. Her career has seen her work with ensembles such as Collusion, Ensemble Trivium, Australia Piano Quartet, Fragments Ensemble, and Topology, and she continues ongoing musical partnerships with leading musicians such as Judit Molnár (soprano) and Kristian Winther (violin). Brieley's discography includes four albums showing a diverse range of chamber music repertoire: a 2012 project with Collusion, realised in the albums Flashpoint (quartets by Hindemith and Messiaen) and I read the old dream slowly (all Australian chamber music); a self-titled disc with Artico Ensemble from 2013, a group with whom she worked for seven years who was dedicated to taking chamber music recital programs to many small community venues; and Mahler’s Symphony No. 2 for 2 pianos, 8 hands, a 2014 project for Melba Recordings. 


As a curator of music and arts events, Brieley's DeClassified Music (2013-15) grew from an earlier concert series established in 2011. Both series were enabled by the local Steinway & Sons piano distributors and DeClassified Music emerged in collaboration with FireWorks Gallery (Australian contemporary indigenous and non-indigenous art). DeClassified Music won a Creative Sparks Award from the Brisbane City Council, was recognised for funding from Arts Queensland and the Australia Council of the Arts, and had events featured in several Queensland Music Festivals.


Brieley remains dedicated to encouraging talent and classical music appreciation in Australia’s youth, and in older students too. She has worked as a piano teacher in Melbourne, London, and Brisbane, and is now based in Sydney. Influenced from having grown up on a farm in regional New South Wales, Brieley has taught and given masterclasses in regional New South Wales, toured with Collusion for Musica Viva in Schools in Queensland and regional Tasmania, and toured with Topology  to regional and rural centres across Queensland. Brieley has been an adjudicator for the Sydney Eisteddfod, and for over twenty years has considered it a privilege to support and accompany talented student instrumentalists and singers of all ages. Brieley currently teaches undergraduate and postgraduate piano students at the Australian Institute of Music where she is also supervisor to graduate research projects.  


Brieley completed her early musical studies in Brisbane, gaining entrance to tertiary education at age thirteen at the Queensland Conservatorium. Following postgraduate studies also at the Queensland Conservatorium, and at the Australian National Academy of Music in Melbourne, Brieley was also supported to attend a Summer Festival in Salzburg and the International Festival Musici Artis in Brussels. Brieley then continued her studies at the Royal College of Music in London, afterwards returning once more to Brisbane to complete her doctoral studies at the Queensland Conservatorium (Griffith University) where her practice-based research focused upon recognising and describing the unique set of skills required by pianists working in small classical ensembles. In 2013, Brieley was offered a fellowship from the Winston Churchill Memorial Trust of Australia to travel to the United Kingdom, Netherlands, and New York to expand her music, career, and industry knowledge.


As a student, Brieley was successful in significant piano competitions, including being National Keyboard Winner of the 2006 Symphony Australia ABC Young Performers Awards - performing Prokofiev’s Piano Concerto No.3 with the Melbourne Symphony Orchestra for ABC live radio and television in the Grand Final - and receiving the second prize in the 2010 Kerikeri National Piano Competition in New Zealand.


"...The performers clearly enjoyed playing together as an ensemble and showcased virtuosic skill for the challenging repertoire."


(French Revelations with Ensemble Trivium, Brisbane)


“…Cutting was technically assured with excellent control of the keyboard…expressive in the darker passages…she threw herself feverishly into the Allegro movement almost to exhaustion. It was an impressive rendition…

The Courier Mail, Brisbane

(Beethoven Piano Sonata Op. 57 ‘Appassionata')

“…Both introduced excellent orchestral colour and texture into their playing, with exciting juxtaposition of two separate “orchestral” stands working against each other and then magically arriving in harmony at the end of the movements. They were a joy to watch and hear.”

The Courier Mail, Brisbane

(Beethoven Symphonies Nos 1 & 4 - arr. piano 4-hands)

“…Here is a pianist who has at her disposal a myriad of different colours and who knows how to take the time to let the music speak.”

The Auckland Scoop, New Zealand

(Kerikeri National Piano Competition)

…a must-have for every Mahler-buff… required listening for any maestro-wannabe who dares pick up a baton."

The Australian Weekend Review

(Mahler Symphony No. 2 “Resurrection” for 4 pianists, Melba Records) 

"...Hidden gems 2014: shines brilliant new light on this masterpiece." 

The Guardian (Aus)

(Mahler Symphony No. 2 “Resurrection” for 4 pianists, Melba Records) 

"...a great addition to the Brisbane Scene."

RealTime Arts

(DeClassified Music Concert Series, Brisbane)

"…And boy, has she made changes. Things went so well over the next few years that in 2013 it became DeClassified Music … Who knew classical music could be so fun, am I right?”

The Factory Diaries

(DeClassified Music Concert Series, Brisbane)

"The intimate space of the Byron Theatre puts the dancers and the musicians up close and personal with the audience. In your face, it is. In your mind, it gets. … It is exciting to see the creation of new dance and music."


(A Transient Beauty with Collusion Music, Byron Bay)

“Collusion performed throughout with intense engagement and finesse. Their precise ensemble playing detailed the repetitions of the minimalist works on the programme…dramatic opportunities (and there were many) never went to waste. When it came to the musically expansive world of the Hindemith quartet, the players demonstrated the breadth of their stylistic accomplishment….”

Australian Modern Design

(Collusion Music, Brisbane)

"...she showed technical expertise..." 

The Age, Melbourne

(Australian National Academy of Music, Iwaki Auditorium)