Brieley Cutting is an Australian pianist described as having “at her disposal a myriad of different colours” (The Auckland Scoop) and as being “technically assured with excellent control of the keyboard” (The Courier Mail). 


Raised on a farm in the Northern Rivers area of New South Wales, Brieley Cutting studied at the Queensland Conservatorium of Music in Brisbane, Australian National Academy of Music in Melbourne, and at the Royal College of Music in London courtesy of a David Paul Landa Memorial Scholarship, the Tait Memorial Trust and the Australian Music Foundation. 


In 2006, she was National Keyboard Winner of the 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 in 2010 received second placing in the Kerikeri National Piano Competition in New Zealand. In 2013 she was granted a fellowship of the Winston Churchill Memorial Trust and in 2016 was awarded a Doctorate of Music Arts from Griffith University. 


In 2012, Brieley joined fellow pianists to record 'Mahler’s Symphony No. 2 for 2 pianos, 8 hands' for Melba Recordings to critical acclaim from The Guardian (Australia) and The Australian Weekend Review, and joined Collusion Music in 2013 to record the albums 'Flashpoint' (quartets by Hindemith and Messiaen) and 'I read the old dream slowly' (all Australian chamber music) whilst Ensemble in Residence at the Queensland Conservatorium of Music. 


Brieley has performed as soloist and chamber music collaborator at venues in London, Brussels, Salzburg, and New Zealand, and in Australian leading venues including Melbourne's Hamer Hall, Town Hall, and Iwaki Auditorium; Sydney's City Recital Hall and the ABC's Eugene Goossen's Hall; the Adelaide Town Hall; the Queensland Performing Arts Centre Concert Hall; The Gold Coast Arts Centre; Tasmania’s Mona; for organisations such as ABC Classic FM, 4MBS, and Musica Viva; and at festivals including the Piano Mill at Stanthorpe, Festival of Voices, and Tyalgum, Bangalow, and Australian Piano Duo Festivals. Brieley has appeared as concerto soloist with orchestras including the Melbourne Symphony, Adelaide Symphony, Queensland Symphony, Melbourne Youth Orchestra, and the Nizchny-Novgorod Philharmonic. Her career has seen her work previously with many leading Australian ensembles such as Ensemble Trivium, Australia Piano Quartet, Collusion, and Topology. 


As a curator of music and arts events, Brieley was Artistic Director of a chamber music concert series in Brisbane from 2011 to 2015. Enabled by the local Steinway & Sons piano distributors, her concert series 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.


Dedicated to her work as a teacher, Brieley has been invited to hold Masterclasses in regional New South Wales, the Gold Coast, and in Sydney, and she has been an adjudicator of performance competitions, such as at the Queensland Conservatorium and for the 2021 Sydney Eisteddfod. Brieley has toured for Musica Viva in Schools to Queensland, Canberra, and regional Tasmania; and toured with Topology with their show 'Queensland at Home' to regional and rural centres across Queensland. In 2020, Brieley was appointed as Academic Lecturer in Classical Piano at the Australian Institute of Music in Sydney.


Recent 2022 recital performances have been in Sydney with Jessica Lee (flutes), Christopher Pidcock (cello), composers Mark Oliviero and Vincent Giles at The Australian Institute of Music, and she appeared as soloist and chamber music collaborator in performances for Music in the Sky with Radu Cello Ensemble at the Coal Loader Centre of Sustainability. Delayed by the covid-lockdowns, Brieley is currently completing a recording project in Brisbane with Fragments Ensemble, music by Hungarian composers Béla Bartók and György Kurtág with Judit Molnár (soprano) and Graeme Jennings (violin). 



Brieley will always be extremely grateful for the valuable time learning with Pamela Page and Max Olding, Oleg Stepanov and Natasha Vlassenko, Timothy Young, Rita Reichman, Ruth Nye, and Stephen Emmerson.







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

 - ClassikOn  (with Ensemble Trivium)

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

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 (with Angela Turner)


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 was a performance of authority.

- The Auckland Scoop, New Zealand 


...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)

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)

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.

- Stagediary (with Collusion Music)


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 (with Collusion Music)