#10: Vid A Kanyakumari, it's a concert with MLV. I cannot identify this myself, but it is not placable with certainty in the Lalgudi, Parur, Papa/Tripunithura or M Chandrasekaran style. Given that it is the pre-electric AK, one can recognize snatches of MC: the s p (lower pa) and p s, sdp near 2:11, the r,s around 2:36. They have taken more from the Lalgudi bani since, and the playing of many of her students (who use accoustic violins) would resembles the Lalgudi style more.
#11: It is indeed RKSK. The krti pADam (even in the little bit) gives away that it's not TNK: the ndnp is played replaced with dsnd (the ni having a split-fingering), and the pndp has a split-fingering trick in TNK version, as does the sns in sns pdp. The finale is also a little unlike TNK, who would typically play a conventional tadiginatom round, a bunch of triplets (as done in the sAvEri), or (typically in duos or trios) Chembai-like s,rr r,gg g,mm ... etc. The tone is not as sharp and bright as TNK: the GNB accompaniment tone is so much sharper even at the lower shruti. TNK would ordinarily also not have a plain pndns: the nis would have a brisk kampitam. You'd usually also get a r(g)r s(r)s ndp or a p(n)p m(p)m grs somewhere.
Bonus question: Can anyone recognize the mridangam? It doesn't seem to be KAP. It wasn't listed.
#12: This is TNK. It wasn't listed with the recording, but it's quite clear. Like Papa, he too doesn't completely "switch off" when the vocalist sings neravals and swarams, although the playing doesn't disturb their singing.
So there was no repitition here
