Smt DKP made sure that each of her concerts had a representation of each of the trinity. She emphasized the importance of Tamil kritis in concerts and made her concerts a standing example for inclusion of Tamil Kritis by earmarking a special place in her concerts for Tamil Kritis.
Viruththams and slOkA would definitely feature in her concerts. Each concert included at least one Viruththam/SlokA. DKP’s fondness for slokAs resulted from her father. DKP’s father Shri Krishnaswamy Dhikshitar gave formal training in SlokA chanting to his little daughter since she was only 3/4 years old. DKP would fondly recall even in her last days how her father would dip his fingers in water and then gently wipe her eyes with wet fingers at 3 am to wake her up to teach slokAs. Her slokA repertoire was naturally very vast and she knew the meaning of every word of all the slokAs in her repertoire which were carefully and affectionately tutored by her father. Her rendition had the natural ability to convey the meaning and bhAvam of the slOkA. She made her listeners experience while listening what she experienced while rendering. Her viruththams like ‘Petra thAi thanai’, ‘Kondal vannanai’, ‘PullAi pirandhAlum’ will remain evergreen in the minds of the rasikAs.
She would keep in mind the size of the composition while rendering rAgam, thAnam, niraval and swaram and their size and duration will be in proportion to the size and duration of the composition.
Every composition has its own kAla pramAna and rendering that composition in a different kAla pramAna will not do justice to the emotions that the krithi demands. She ensured that she rendered the compositions only in their respective kAla pramAnAs.