Zohrabai: The Unforgettable Voice of Agra Gharana

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Curated by Kasturi Joshi

Zohrabai Agrewali (1868–1913) was not only a celebrated vocalist but also a woman of immense strength, determination, and musical talent at a time when the notion of a female public performer challenged societal norms. Born in Agra, she lived during a period when the Indian recording industry was beginning to develop. In 1908, she became one of the earliest Indian classical musicians to be recorded, with her bold and commanding voice forever etched into spinning shellac records.

However, behind her fame lay a life marked by fierce determination. After a heated confrontation with another leading singer at a royal wedding, Zohrabai chose to retreat from the public eye, moving to a village where she trained intensively under Ustad Sher Khan of the Agra Gharana. When she returned, she was a transformed artist—her music sharper, deeper, and more fearless.

Training and Influences:

Zohrabai Agrewali’s music resulted from years of deep, disciplined training in the Agra Gharana, a style known for its bold expression, strong rhythm, and intricate designs. She learned from great masters like Ustad Sher Khan and Ustad Kallan Khan, who shaped her understanding of raga, rhythm, and the art of performance. Her training involved long hours of vocal exercises, where she focused on shaping phrases (bol-baant) and mastering fast, complex taans. Much of her education came not from written notes but from listening, repeating, and absorbing knowledge passed down from guru to shishya.

Early Recordings and the Gramophone :

In 1908, Zohrabai was recorded by the Gramophone Company of India. These shellac discs, often mislabeled or poorly archived, remain among the earliest documents of a female khayal singer. Her voice, captured over a century ago, provides a precious aural glimpse into the early era of recorded Hindustani music. These discs played a crucial role in shaping public listening habits, marking a shift from live mehfils to reproducible music.

Zohrabai’s influence :

Zohrabai’s singing influenced notable artists, including Ustad Faiyaz Khan, the most prominent figure in the Agra Gharana in modern times; Ustad Bade Ghulam Ali Khan of the Patiala Gharana; and Vidushi Gangubai Hangal of the Kirana Gharana.

Zohrabai’s Music –

“Zohrabai presented best bandishes of various ragas, recorded prolifically and proved the popularity of these among the music loving and record buying public. Her gayaki as could be heard in these records is undoubtedly great and graceful. Her records in ragas Basant. Marwa, Puriya Dhanashree, Jogiya, Gaud Sarang, Todi, Multani, Kedar, Khamaj, Bhupali, Jaunpuri and many others prove this amply. She was equally great in her records of Thumri, Dadra and Gazal. After singing Astayi and Anatara gracefully, she weaves the words/text of bandish in Aalap, Murki and Khatka, improvising the raga. She then slowly begins to sing layakari taans and in fast tempo presents faster and faster taans and suddenly concludes her recital by announcing her name – Zohrabai Agrewali in English and in the same tempo. [In some records she tells her complete address too]. This formula became so popular that it was religiously followed by several gramophone singers for several years almost till the end of the 78 rpm era.”

An excerpt from ‘Avajachi Duniya’ a book in Marathi by Keshavrao Bhole

Raag Gaud Sarang

Raag Gaud Sarang is a lively midday raag from Kalyan thaat. This recording, made on a 78-rpm disc around 1910, condenses a full khayal into under three minutes. Notice how Zohrabai creates quick, arching phrases around the notes ‘Pa’ and ‘Sa’ before transitioning into a slow meend on ‘Re’, which provides both brilliance and calm. Her taans remain crystal-clear despite some surface hiss, showcasing the Agra gharana’s hallmark of power and precision. In this particular performance, we can also observe the use of Behlaava, a technique often found in Gwalior gayki.

 
“Aalapchari (rendering of slow movements) of Zohrabai was undoubtedly beautiful. This can be judged through her gramophone records. Even today, her music gives an immense pleasure to the listeners. Records do testify that she did not have a natural melodious voice, however she took a lot of effort and learnt music and renowned singers of that era also appreciated her music. Ramkrishnaboa Vaze visited her in Agra and stayed in her house as a guest for several days. Her father used to give her Taalim (practice) everyday and Vazeboa used to listen to them singing. Her father was a renowned Sarangi player and many nuances of sarangi could be traced in her renderings. Vazeboa was very much pleased with her melodious voice. She has cut many gramophone records and the bilampat (slow movements) was her specialty. I used to listen to these records again and again and each time I could feel something unusual. Whenever Vazeboa visited me, he would listen to her “Kajarare” record in Raag Gaud Sarang, and would remark, What a ‘Shuddha Madhyam’ Keshavrao, I am trying very hard, but can’t sing as she has, and hence I listen to this record again and again.”
(Ref : Keshavrao Bhole – From his Marathi book – ‘Asthayi’)

Raag Bhoop

Raag Bhoop is a beautiful pentatonic raag often associated with clarity and devotion. In this recording, Zohrabai presents a striking tarana, which is distinct from more common bandishes that usually place the sam on either the gandhar, pancham, or the madhya saptak. This particular tarana uniquely places the sam on the shadaj of the taar saptak. Her rendition effectively covers the entire chalan of the raag in just over three minutes. Notably, she employs sargam, a feature that is rare in Agra gharana recordings of the time, which sets her apart from her peers. The smooth transition from madhyalay to drut, along with her flawless tayyari, showcases not only her technical command but also her deep musical maturity.

Raag Multani

In this recording of ‘Gokul Gaon Ka Chhora’, her singing style is similar to the singing of Gwalior gharana and Nisar Husain (Badaun). The style of presentation and the composition is gharana-like and famous. The traditional and ragdari-loving audience have always liked and appreciated her gayaki. In her time, the form of Multani was similar to the modern form. She has mostly taken the straight tone in this composition.

Raag Kedar

In this recording of Raag Kedar, Zohrabai Agrewali presents the traditional bandish “Chatur Sughar Baiyan”, composed by ‘Saras Piya’ (also known as Kaale Khan). She stays true to the classical swaroop of the raag, using only subtle hints of ‘teevra Ma’ and ‘komal Ni’, allowing the core identity of Kedar to shine through. Her singing features a strong and resonant pukaar, that emotional call or invocation, that is a hallmark of Agra gayaki. As the performance comes to an end, she showcases bold and daring taans with impressive clarity and control. This leaves the listener with a feeling of both structure and spontaneity. It offers a powerful insight into her mastery of both tradition and technique.

References

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