Introduction

Compassion is not a religious work in the traditional sense. Although there is reference to the divine nature of compassion, the emphasis is on compassion as a vital quality of human interaction. Lior says: "It may seem strange in the context of this work, but neither Nigel nor I consider ourselves religious people. We do, however, share a firm belief that much of the beauty and wisdom found within so many works of art and philosophy attributed to a certain religion need not lie exclusive to those who subscribe to its faith, or only to those who seek a connection with God through directional prayer. They have so much to offer to those who might accept them without bias or judgement. "

Lior carefully, and perhaps courageously, drew together texts from Hebrew and Arabic proverbs and writings for Compassion, finding common ground around this theme, despite the divisive and combative history of the Middle East. Lior created melodic ideas for the texts, which he then sent to Westlake. Despite the origins of the texts, Westlake says that the music contains no conscious references to traditional Hebrew or Arabic musical forms, melodies or scales (with the exception for "Avinu Malkeinu", which is based on a traditional melody)3. The character of the music comes from Lior's melodies and Westlake's orchestral responses to these. 

Compassion began in the painful aftermath of the tragic death of Nigel Westlake's younger son, Eli, in 2008. Westlake found a common understanding of loss in the music of Lior. Three years after his son's death, Westlake returned to composing with his work Missa Solis: Requiem for Eli, which he described as an act of devotion for his son. The composing of Compassion continued Westlake's desire to write music of personal significance and artistic integrity in honour of Eli. 

Following the concert Westlake suggested that he take a solo vocal recording of Lior's performance and create a symphonic arrangement around it. Following this first piece, Westlake and Lior began their first proper collaboration with what would become the sixth song, "Ma Wadani Ahadun". This served to establish and galvanise the working methods that would inform the collaborative writing process for the rest of the work. 

Westlake says of Compassion, "Seeing this piece come together over the past couple of years has been a major highlight in my career and it is my hope that this music might offer its listeners the space and opportunity to reflect upon the qualities of that most noble of human sentiments, the good stuff that enriches our lives with meaning, insight, depth and intrinsic worth. The virtue of compassion. "

Westlake's ability to combine the language of the 21st-century concert hall with the influences of Lior's Middle Eastern heritage has produced a fresh and engaging vocabulary with which to express these ancient truths. Westlake has placed Lior's exquisite melodies within an array of inventive orchestral textures, which realise the musical and emotional potential of each melodic phrase. The creative collaboration has resulted in music that, Westlake says, "neither of us could ever have written on our own".