An adventure on horseback: the journey of Battisti and Mogol

Battisti and Mogol a horseback journey

In the 1970s, a period marked by profound social and cultural changes, Lucio Battisti (Italian singer-songwriter) and Giulio Rapetti aka Mogol (Italian singer-songwriter), were at the height of their musical careers. However, to get away from the hustle and bustle of city life, the two artists decided to embark on a unique adventure: a horseback ride from Milan to Rome. This journey represented a search for an authentic contact with nature, an opportunity to reflect and reconnect with their roots. The bond they would forge with the horse would allow them to deepen their inner quest.

The horse, which often depicts strength, freedom and majesty, is a symbol of purity and beauty. The distinctive characteristics of this noble animal have inspired and continue to inspire artists, poets and dreamers.

The idea for this journey was born in a context of artistic ferment, where the desire for freedom manifested itself in many forms, from art to music to social engagement.

This trip had additional goals, from which emerged a genuine interest in Italian culture and traditions, which were increasingly being lost. Traversing the various regions of Italy on horseback allowed the two creatives to immerse themselves in typical landscapes and interact with the local people.

This adventure was thus a way to discover the country and, above all, to gather the inspiration that would later be translated into new musical and literary works. An experience that would become an integral part of their artistic essence, contributing significantly to their musical legacy.

Metaphor for an inner journey

In the 1970s, Italy was characterized by significant social and cultural changes that deeply affected people’s lives. Lucio and Mogol felt the need to get away from the hustle and bustle of urban life. This desire to escape stemmed from a search for authentic and meaningful experiences that could fuel their creativity.

Escaping the chaos of cities expressed a need for reflection and introspection, an opportunity to reconnect with nature. The idea of embarking on a journey on horseback, an animal that requires sensitivity, patience and connection, was a way for them to get away from the fast pace of contemporary society, embracing instead a simpler and more genuine life. The act of riding, among other things, symbolized a kind of liberation and a search for authenticity, elements essential to their creative process.

Moreover, facing the challenge of a journey riding such a sensitive and instinctive animal meant testing skill, physical endurance and feeling. Battisti and Mogol, aware of the difficulties such an experience entailed, were at a crucial moment in their careers. The trip was not only an excursion, but also an opportunity to reaffirm themselves and come to terms with their fears and insecurities.

The Journey on Horseback: Itinerary and Stages

This experience still represents a unique adventure today, not only because two well-known artists rode those kilometers on horseback, but it was singular especially because of the way it unfolded: riding for a distance of 600 km, from Milan to Rome, in twenty stages, with some directions decided on the spot.

At the time, the itinerary was much more flexible than today; there were many roads to ride on, and with urbanization many have been lost. In fact, Lucio says, “on horseback the roads are different, everything is different in this half-unknown Italy that we slowly rummage through day after day. We ride through forest trails, dusty little roads, mountain lanes and beaches. Sometimes, but rarely, we encounter a strip of asphalt….” Lucio Battisti (From his travel diary published in Tv Sorrisi e Canzoni, 1970).

Battisti and Mogol’s return to nature

Fifty-five years ago, in May, the two decided to embark on this adventure, on Mogol’s advice, partly to escape the hustle and bustle of daily life and partly to reconnect with nature and animals. “The spirit is to prove to ourselves that we can do it, and to enjoy without worries a real contact with nature, to cure ourselves a little from the diseases of our working life, characterized by haste and the agonizing race against time.”

Lucio did not know how to ride, so he would adapt out of friendship to Giulio, who had already accumulated many hours in the saddle and wanted to share that experience with him. “It was a gesture of friendship toward me: I asked him to accompany me. He did not know how to ride a horse, but he soon learned, as he always did. He had a mathematical mind, different from mine, and together we complemented each other quite well,” Rapetti recounted.

Moyersoen Family

Lucio and Giulio undertook a very intense period of riding before they left, for about a couple of months, devoting three hours a day to training. Every afternoon they would go out in the saddle to prepare for different levels of difficulty. They would ride at the “Cascina Longora” stable in Pavia, owned by the Moyersoen family. They were two diligent and willing students; in addition to being looked after by Albert, their children Filippo and Francesca also accompanied them in training and on the ride.

Albert recounts, “Mogol already owned a horse and therefore knew how to ride. Battisti, on the other hand, was starting from scratch. After two days, however, he was already able to gallop. He had established a special feeling with the horse. One of the first times he came here to Cascina Longora to practice, his mother was there. She was surprised when she found out that her son could ride” (© 2008, from ”Lucio Battisti. Two boys ride all summer long,” Sperling & Kupfer publisher).

Pinto and Ribatejo

In three weeks they rode about 30 km a day, accompanied by the two Lusitanians Pinto and Ribatejo, one gray and the other white and spotted brown. In addition to Francesca and Filippo, the two adventurers also had a Land Rover with an attached caravan, which they used to scour the territory in search of huts for sleeping, eating and stables to house their horses.

An arduous challenge, then, which entailed many inconveniences, such as blisters on their butts after three days of travel; people not recognizing them because Lucio had cut his very thick hair, which certainly characterized him; distrust because, in those days, caravans were associated with gypsies. And they ended up being rejected. However, there was no shortage of people who recognized them, welcoming them with great friendship.

Dynamics of the Relationship between Battisti and Mogol.

The collaboration between Lucio and Giulio represented one of the most significant chapters in Italian music of the 1970s. Their friendship, rooted on a deep professional and personal respect, was fundamental to the success of their works. Battisti, with his unparalleled melodic ability and emotional interpretation, found in Mogol a lyricist capable of translating his musical insights into evocative and poetic lyrics.

You can call them “Emotions” if you want.

A significant anecdote concerns the creation of iconic songs such as “Emozioni”. It is said that this song was born during a walk in the countryside, when Battisti sang some melodic phrases that Mogol, struck by the atmosphere, immediately translated into words. These moments of spontaneous inspiration further consolidated their bond and gave birth to songs that have become an integral part of the Italian music culture.

The dynamic of their relationship was not only creative, but also allowed them to explore the tensions and personal aspirations of both. Battisti and Mogol, although coming from different contexts, have found in their collaboration a safe haven. Mutual trust allowed them to express deep emotions and tackle complex issues, amplifying their musical message and impact on the cultural scene of the time.

In this context, their adventure can be seen as a metaphor for the inner journey, where the search for self and an authentic identity becomes fundamental.

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