Bartolomeo Bortolazzi was born in 1772, 3 March, in Toscolano (now Toscolano Maderno in the province of Brescia), a beutiful village grown in the western shore of Garda Lake. This fact is apparent from the "Book of Baptized from 1695 to 1775" preserved in the Parish of Toscolano [1].
His parents were Domenico di Giacomo and Apollonia Lombardi.
At that time Toscolano, as almost its entire province, was in the Venice Republic. It was flourishing especially in the craft of paper, that became a real industry in subsequent years.
Bartolomeo was launched to follow in the footsteps of his father Domenico to learn the craft of "Cartaio" (apper-maker), but his passion for music and mandolin was more important to him.
In fact when only 18 years in 1790, he left his hometown to arrive in Countries and cities of the North Italy, with his friends Bazzani and Lena, guitar players, and Pietro Ferrari, a singer of comic arias, making concerts in squares, taverns and theaters.
They had been successful, a fact that led them to cross borders and move to France, where they could repeat their successes.
The incoming Revolution, which upset France and Europe, forced them to return to Toscolano.
But soon after they dedided to leave for Tyrol, and from there into Austria, visiting the cities of the most important cities of Empire coming finally to Vienna.
Even in this city there were significant successes and awards.
Here Bartolomeo had the good luck to meet the ".. renowned pianist Colò of Riva di Trento who, impressed by his talent, pushed him to start a serious musical and literary training."
This training was conducted by Bartolomeo were with love and discipline.
At about 1794 Bortolazzi married Margaret Leonardi. In 1795 he was living again in Toscolano, where his wife became pregnant. Their son was born on March, 29th 1796 and was called Giacomo Giuseppe (James Joseph).
The birth of his son and the studies under the guidance of the mecenate Colò di Riva di Trento, gave a strong outburst to his career .
Bortolazzi, endowed with an extraordinary talent, in Vienna was already among the most famous mandolinist in Europe.
In 1799 Bortolazzi moved to London, perhaps invited by a Masonic Lodge. Here he lived until 1802 (or 1803); here also he perfected his skill on the guitar, studying with local teachers.
Indeed, at the British Museum, there are some vocal compositions dedicated to the "Brothers of the Lodge of Pilgrims."
In London he met also, in 1799, the young Slovak composer Johann Nepomuk Hummel (1778-1837), who dedicated to him the famous concert for mandolin and orchestra (now available at the British Museum).
Evidently the young Hummel was fascinated by the virtuosity of Bortolazzi, much to dedicate the concert, that in drawing, affected councils that were suggested by Bortolazzi, especially as regards how to deal with the peculiar writing of the instrument.
The mandolin was fairly well known in London. That because Giovanni Battista Gervasio had a concert in 1768, and Peter Leone published in those years his method for the mandolin.
In addition, the instrument had been used by Haendel (1748), by Arne (1764) and other composers.
At the end of 1802 Bortolazzi returned to Vienna and is prepared to leave for Germany for a series of concerts in the company of his son James Joseph in various cities including Berlin and Braunschweig.
It is likely that Bortolazzi, during his stay in London, has had the opportunity to know some musicians who were in that city in those years, including the famous Giovanni Battista Viotti (1755-1824 ), The renowned tenor and composer Luigi Asioli and the famous singer Josephine Grassini. After 1803 he moved to Germany for his concert activity, living for some years in Braunschweig and Berlin. In about 1805 he moved to Vienna, where he had success as a composer and a teacher. He died, probably in Vienna, in the first decades of the 1800's, but the exact year of his death is unknown.

Besided his several works for mandolin, Bortolazzi wrote many chamber pieces calling for the guitar, generally variations and songs for voice and guitar accompaniment. Especially important is the contribution made by Bortolazzi literature of mandolin and guitar. His compositions witnessed an elegant sliding, but can not ever go deep. In the works for mandolin has set out the melody and harmony is very simple and education. His compositions have, however, a great historical significance, because tell us how to play the mandolin in the early nineteenth century. He also wrote a Method for the guitar.

On 2 September 1803 the newspaper Leipziger Musikalische Allgemeine Zeitung "informs us of a concert in Dresden Bortolazzi" ... to Bortolazzi, the musician mandolin, I say only that really. What kind of tool is never povero this tool that can deliver only one species of crickets chirp, no tone maintained, nothing cantabile ". In this regard Konrad Wolke says that "the technique Mandolin time did not use the tremolo, and consequently, was the only instrument with the staccato. Questa rinuncia al tremolo non va comunque intesa come una limitazione espressiva, come d’altronde l’antica musica per liuto aveva già dimostrato attraverso i secoli”. This waiver of the tremolo should not be understood as a restriction expression, as well as the ancient music for lute had already demonstrated through the centuries. " A distanza di un mese un altro giornale, l’”Allgemeine Musikalische Zeitung” così descrisse un altro concerto di Bortolazzi: “… il Sig. After one month another newspaper, the 'Musikalische Allgemeine Zeitung "described as another concert Bortolazzi:" ... Mr. Bortolazzi virtuoso di mandolino … di mandolino? Bortolazzi mandolin virtuoso of the mandolin ...? Ripetono increduli scuotendo la testa molti lettori. Repeat incredulous shaking his head many readers. Proprio così. That's right. E’ vero che in Germania il mandolino ha poco credito se suonato da mani poco abili, ma il signor Bortolazzi dimostra pienamente come spirito, sentimento, gusto e solerzia instancabili possano far parlare anche uno strumento insignificante in mani esperte. It 'true that in Germany the mandolin has little credit if played by skilled hands shortly, but Mr show Bortolazzi fully as spirit, feeling, taste and tireless diligence can also speak to an insignificant tool in expert hands. I suoi concerti con accompagnamento dell’orchestra non sono molto interessanti, ma le sue variazioni e simili piccoli pezzi (accompagnati, e bene, sulla chitarra dal figlioletto di sette anni) così come le sue improvvisazioni, sono degni di ascolto e molto gradevoli. His concerts with accompanying dell'orchestra are not very interesting, but its variations and similar small pieces (accompanied, and well on the guitar by the son of seven years) as his improvisations are worth listening and very pleasing. Solo un italiano può essere capace di rendersi interessante con così poco: il signor Bortolazzi ha composto dei pezzi per il suo strumento ed altri ne compariranno presto”. Only an Italian may be able to be interesting with so little: Mr. Bortolazzi has composed pieces for his instrument and others will appear soon. " E’ interessante osservare che, mentre nella recensione del concerto di Dresda, il mandolino era descritto come un “… povero arnese” solo capace di “emettere una specie di frinire di grilli”, il giornalista di Lipsia sottolinea che il mandolino è uno strumento insignificante soltanto nelle mani di suonatori incapaci. It 'interesting to note that while the review of the concert in Dresden, the mandolin was described as a "poor tool ..." only able to "issue a species of crickets chirp," the journalist Leipzig stresses that the mandolin is an insignificant only in the hands of players incapable. Grazie al virtuosismo e alla tenacia di Bortolazzi, lentamente i musicisti abbandonarono i propri pregiudizi nei confronti del mandolino. With virtuosity and tenacity of Bortolazzi, the musicians slowly abandoned its bias towards the mandolin. La sua fortunata e intensa attività concertistica influì notevolmente a fare apprezzare il mandolino e il suo repertorio. His lucky and intense activity influenced greatly to appreciate the mandolin and his repertoire. Il giornale “Musikalische Allgemaine” di Branschweig scriveva: “Il 15 novembre il mandolinista Bortolazzi ci ha riservato un semplice ma intenso piacere. The newspaper Musikalische Allgemaine "of Branschweig wrote:" On 15 November, mandolins Bortolazzi has given us a simple but intense pleasure. La sua mirabile capacità esce esaltata dopo questo concerto”. His wonderful ability exalted leaves after this concert. " Nel 1804, a Berlino, suonò accompagnato con la chitarra del figlio Giacomo Giuseppe di 8 anni, le variazioni tratte da un tema dell’opera “La bella molinara” di Giovanni Paisiello. In 1804, in Berlin, played the guitar accompanied by his son James Joseph of 8 years, changes from a theme of "La bella Molinara" by Giovanni Paisiello. Tre settimane dopo egli si esibì a Lipsia e anche in questa occasione scrive il giornale “… intratteneva piacevolmente i suoi ascoltatori riscuotendo un caloroso ed entusiastico successo”. Three weeks after he performs in Leipzig and on this occasion also writes the newspaper "... nicely maintained his listeners having a warm and enthusiastic success." Bortolazzi non era l’unico esecutore nei suoi concerti, ma divideva il programma con altri musicisti. Bortolazzi was not the only performer in its concerts, but shared the program with other musicians. Ad esempio, nel concerto eseguito a Berlino nel 1804, veniva “presentato per la prima volta un quartetto per archi di Dussek”. For example, performed a concert in Berlin in 1804, was "presented for the first time a quartet for strings of Dussek." Nel 1805 la famiglia di Bortolazzi ritornò a Vienna dove tenne molti concerti e lavorò come insegnate di mandolino e chitarra e come compositore. In 1805 the family returned Bortolazzi held in Vienna where many concerts and worked as a teacher of mandolin and guitar and as a composer. L’ultimo resoconto sulla vita di Bortolazzi a Vienna risale all’8 aprile 1805. The latest report on the life of Bortolazzi in Vienna dates back to 8 April 1805. A Vienna il mandolino era ormai di casa, basti pensare che Beethoven, che vi si era trasferito nel 1782, aveva scritto nel 1796 le sue composizioni per mandolino e clavicembalo. In Vienna, the mandolin was now at home, just think that Beethoven, who had moved in 1782, wrote in 1796 his compositions for mandolin and harpsichord. I giornali si occuparono con assiduità delle esecuzioni del “celebre mandolinista Bortolazzi” che dimostrava sempre “molta abilità, leggerezza e delicatezza”. The newspapers are occupied assiduously executions of "famous mandolins Bortolazzi" who always showed "a lot of skill, lightness and delicacy." La stima dei viennesi fu un incoraggiamento a Bortolazzi per stabilire a Vienna la sua residenza definitiva. The estimate of Vienna was an encouragement to Bortolazzi in Vienna to determine its final residence. La sua attività di concertista, di insegnante e compositore, gli consentivano una vita tranquilla e serena con la sua famiglia. His current concert artist, teacher and composer, to allow a peaceful and serene life with his family. Konrad Wölki, che è stato il più tenace e appassionato studioso della vita e dell’opera di Bortolazzi, ci informa che dopo il 1814 non si trovano più notizie di lui. Konrad Wolke, who was the most tenacious and passionate scholar of life and work of Bortolazzi, informs us that after 1814 are no longer news to him. Che sarà accaduto? What will happen? Qualcuno ha sollevato l’ipotesi che sia ritornato in Italia, ma questa notizia non trova alcuna conferma. Someone raised the possibility that it returned to Italy, but this news does not find any confirmation. L’unica notizia relativa alla sua scomparsa la riscontriamo nel libro del Valentini che racconta: “ …Non sazio mai di onori, di luci e di avventure, volle traversare l’oceano per amore, dicesi, di una bella peccatrice coronata, di cui aveva sprezzato l’amore nei giorni delli splendidi trionfi di Dresda e che a lui tendeva pur sempre le sue braccia desiose. The only news on his disappearance to find in the book that tells Valentini: "... Do not ever sated honors, lighting and adventures, wanted to cross the ocean for love, dices, a beautiful sinner crowned, which had contempt love during the days of splendid triumphs of Dresden and that he still tended his arms desiose. Per naufragio, con la moglie e con l’unico figlio, miseramente periva nel 1820, cinquantenne appena”. For sinking, with his wife and the only son, periva miserably in 1820, just fifties. " Tutte le ricerche di ulteriori notizie sulla sua scomparsa non hanno avuto fino ad oggi, alcun esito positivo. All research for further news on his death have not been up to now, no positive outcome. Oltre a varie opere per mandolino, Bortolazzi ha scritto alcune composizioni per chitarra, in generale variazioni e canzoni per canto e accompagnamento di chitarra. In addition to various works for mandolin, Bortolazzi wrote several compositions for guitar, changes in general and for singing songs and guitar accompaniment. Also wrote a method for the instrument.