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.


In Australia, Brieley has performed at 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; 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 the 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.


Collaboration remains central to Brieley’s concert performance. Her career has seen her work with ensembles such as Ensemble Trivium, Australia Piano Quartet, Fragments EnsembleCollusion, and Topology, and she continues ongoing musical partnerships with leading musicians such as Judit Molnár (soprano) and Kristian Winther (violin). Recent performances have been in recital with Jessica Lee (flutes) and Christopher Pidcock (cello), and for Music in the Sky with Radu Cello EnsembleBrieley'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 a concert series she assisted to establish 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's official mission was threefold: to provide outstanding Australian artists with a high-quality platform for their performances in Brisbane, to take amazing music out of ‘secret’ and ‘classified’ university halls and spaces, and to help ensure the adaptation of classical music performance to contemporary society in a way that attracted audiences of all ages. 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 for 20 years, teaching in Melbourne, London, Brisbane, regional New South Wales, and now in Sydney. She has given 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 with Collusion for Musica Viva in Schools in Queensland, Canberra, and regional Tasmania, and she has also toured with Topology with their show 'Queensland at Home' to regional and rural centres across Queensland.  Brieley currently teaches from her home studio and at the Australian Institute of Music in Sydney. Previously, Brieley has been piano accompanist at the University of Queensland and lecturer at the University of New England (Armidale). 


Brieley grew up on a farm outside of Lismore, New South Wales. She completed her undergraduate studies in Brisbane, graduating from the Queensland Conservatorium with First Class Honours aged 18 years and with the top performance prize, the Brisbane Club Award. In the same year she performed Shostakovich's Piano Concerto No.1 with the Queensland Conservatorium Orchestra and was a semi-finalist in the Lev Vlassenko Piano Competition. Brieley continued her studies at the Australian National Academy of Music (ANAM) in Melbourne, completing 4 years in the Performance Program. Whilst at ANAM, Brieley attended and performed in a Summer Festival in Salzburg and the International Festival Musici Artis in Brussels, and she was twice a winner in the ANAM Concerto Competition. Brieley was then awarded a Master of Music in Performance from the Queensland Conservatorium, and was supported by a David Paul Landa Scholarship, Tait Memorial Trust Scholarship, and an Australian Music Foundation Award to continue her studies at the Royal College of Music (London), where she graduated with Distinction from the Postgraduate Diploma of Performance course whilst also performing as a soloist and chamber musician in many London venues.


In 2013, Brieley was offered a fellowship from the Winston Churchill Memorial Trust of Australia and travelled to the United Kingdom, Netherlands, and New York to research and expand her music, career, and industry knowledge. In 2016, Brieley completed a practical doctorate at the Queensland Conservatorium (Griffith University), being awarded her Doctorate of Musical Arts (DMA) for her practice-based research which focused upon recognising and describing the unique situation of and skillset required by pianists working as chamber musicians.

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.


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."


(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)