Text 13
avādyanta vicitrāṇi
vāditrāṇi mahotsave
kṛṣṇe viśveśvare ’nante
nandasya vrajam āgate
avādyanta — vibrated in celebration of Vasudeva’s son; vicitrāṇi — various; vāditrāṇi — musical instruments; mahā-utsave — in the great festival; kṛṣṇe — when Lord Kṛṣṇa; viśva-īśvare — the master of the entire cosmic manifestation; anante — unlimitedly; nandasya — of Mahārāja Nanda; vrajam — at the pasturing place; āgate — had so arrived.
Now that the all-pervading, unlimited Lord Kṛṣṇa, the master of the cosmic manifestation, had arrived within the estate of Mahārāja Nanda, various types of musical instruments resounded to celebrate the great festival.
The Lord says in Bhagavad-gītā (4.7):
yadā yadā hi dharmasya
glānir bhavati bhārata
abhyutthānam adharmasya
tadātmānaṁ sṛjāmy aham
“Whenever and wherever there is a decline in religious practice, O descendant of Bharata, and a predominant rise of irreligion — at that time I descend Myself.” Whenever Kṛṣṇa comes, once in a day of Brahmā, He comes to the house of Nanda Mahārāja in Vṛndāvana. Kṛṣṇa is the master of all creation (sarva-loka-maheśvaram). Therefore, not only in the neighborhood of Nanda Mahārāja’s estate, but all over the universe — and in all the other universes — musical sounds celebrated the auspicious arrival of the Lord.