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Formed in 2000 and named after Heinrich Isaac's famous instrumental piece, La Morra, an international group of early-music specialists, is highly acclaimed for its evocative and well-researched concert programming of music and interpretations of music from the late Medieval and early Renaissance. 

A melting pot of national temperaments, the ensemble makes its home in Basel, the cultural capital of Switzerland, where research into early music and its performance has been practiced for many decades. Under the artistic leadership of Corina Marti and Michal Gondko, the ensemble re-defines itself according to the requirements of the projects it undertakes.

La Morra has performed at some of the most prestigious European and North American Early Music events, including Festival van Vlaanderen (Belgium), Rencontres de Musique Médiévale du Thoronet and Voix et Route Romane (France), Tage alter Musik Regensburg (Germany), Kilkenny Arts Festival (Ireland), Festival Oude Muziek Utrecht (The Netherlands), Oslo Internasjonale Kirkemusikkfestival(Norway), Misteria Paschalia and Muzyka w Raju (Poland), Festival Internacional de Música da Póvoa de Varzim (Portugal), Freunde alter Musik Basel and Forum Alte Musik Zürich (Switzerland), Houston Early Music, The Da Camera Society of Mount St.Mary's College, Los Angeles, The Chamber Music Society of Saint Cloud, and the Early Music Guild of Seattle (USA). Concert tours have also taken the ensemble to Cyprus, Estonia, Finland, Italy, Spain and the United Kingdom.

La Morra’s CD releases are enthusiastically received. Proof of this are such distinctions as the Gramophone Award nomination, Classical Music Awards nomination, five Goldberg awards, five Le Monde de la Musique, three Diapason d’Or, Preis and Jahrespreis der Deutschen Schallplattenkritik and the constantly high ratings in the international music press.

On the 2020 tour La Morra will be performing “Musica Segreta,” Italian music from the age of Pope Leo X. The suggested 2021 program is called “Late Medieval Music of Love, Politics and Salvation.” The courts of late medieval Europe had seen erotic passion intermingle with political intrigue on a daily basis. Musicians found themselves having to put their art in service of their patron’s image. Since they had access to the private sphere of the rulers, willingly or not, they often found themselves entangled in the plots and espionage (for Hermann Poll, the alleged inventor of the harpsichord, this ended badly). Amidst the game, they sung of events such the birth of a long-awaited royal scion as well as unrequited love, but also their own hope for salvation. Centuries later, La Morra lends them voice again.