This musical track celebrates the joyous birth of Bhagwan Shri Krishna, a figure revered as leader, God, and everything. The question arises: why does Periyaazhwar place Krishna's birth in Thirukkoshtiyoor, when scriptures cite Mathura? The answer lies in the puranas, which state Thirukkoshtiyoor is where Krishna, as a divine counsel with the Devas, decided to be born. Thus, it is deemed his birthplace. The track draws from four pasurams (hymns), specifically the 1st, 2nd, 6th, and 7th, though the 10th (the phalashruti) is notably absent.
The track opens with the cry of a newborn, reminiscent of a similar scene in the film Thalapati, but where that birth was fraught with pain, this one is pure joy. The infant's cry is followed by trembling violins and bells, then transitions into a vibrant string section that captures the celebratory mood of Mathura. Woodwind instruments join, adding to the festive atmosphere.
Krishna's birth, as the narrative goes, occurred not in Nandagopan's home, but was brought there by Vasudev. The universe was in a state of unaware slumber until Krishna's arrival. The notes reflect these feelings in the prelude. The song, while primarily in Sindhubhairavi (Bhairavi in Hindustani), subtly incorporates elements of Aabheri and Suddha Dhanyasi.
The first verse introduces Krishna with three names: Kannan, Kesavan, and Nambi, praising his beautiful eyes, hair, virtues, and overall handsomeness. Kannan's birth brings joy to Nandagopar's household, and the inner courtyard is named "Kannan Muttram" in his honor. The tradition of spraying coloured powder mixed with fragrant-oil, similar to the "Sembulapeyalneer" mentioned in Silappathikaaram, is described. This custom, akin to modern Holi celebrations, signifies happiness and festivity.
The interlude musically depicts the joyous reactions of the people of Thiruvaipadi upon hearing of Krishna's birth. The music, with its strings and synth, mimics their dancing, singing, jumping, searching, and slipping. Key-bits in the interlude evoke a sense of playful jumping while the swinging octaves indicate skidding. The verse describes the overwhelming joy in Thiruvaipadi. People ran, slipped in the mud, shouted, embraced, searched for Krishna, sang, and danced. The hymn portrays the grand celebration of Krishna's birth by the five lakh priests of Ayipadi. The word "alippar" is interpreted as both "shouting" and "embracing." The vocal humming and the use of multiple drums during the lines about musical instruments enhance the track's richness.
As the celebrations subside, the music mellows, but interrupted strings hint at a significant event. The verse narrates Yashoda bathing Krishna and seeing the entire universe in his mouth, an event that leaves her awestruck. The music mirrors Yashoda's experience, transitioning from surprise to amazement, and finally to shock. The background music pauses, leaving only strings and tabla to emphasise the awe-struck moment, followed by bells signalling a return to normalcy.
The music shifts from Sindhubhairavi to Hindolam as Yashoda realizes Krishna's divine nature, recognizing him not as an ordinary child ("Aayan"), but as a divine being ("Maayan").
The track concludes, highlighting the composer's own "Maayan"-like ability to weave musical magic.
https://www.youtube.com/watch?v=Y5tey5fuBps
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