[en] In 1945 diverse truly hopeful interests within the Spanish cinematographic sphere came together. A context fresh out of a bloody Civil War and immersed in the post-war period, while whole Europe and the West as a whole (including Japan and the United States) were still debated in the worst and most widespread armed conflict that has suffered humanity: the Second World War. Precisely, these national and nationalist interests, trade interests or coming from an incipient industry (and even ideological and intellectual), were tinged with a certain innocent youthful enthusiasm, since it was felt that something was beginning to forge. And they were going to turn into reality something that until then seemed a dream: to develop the first European animation film (a full-length cartoon) in colour. Thus, in a context of war and conflict, misery, and even hunger, a diverse group of professionals (cartoonists, animation operators, screenwriters, musicians ...) was gathered. And this group got involved in an entrepreneurial adventure, at first hardly conceived to obtain a different more lucrative objective: to obtain import licenses for the great American films and productions, which would guarantee full box office (get lots of money) and a thriving business. Finally, in that environment, with a certain "espadrille euphoria" (because, with very limited resources was intended to compete nothing less than with the most powerful factories such as the Fleischer brothers, or with Disney), music emerged. Because music was a fundamental, indispensable aspect in any cartoon movie, without which the whole alleged building would have collapsed, it is to say, would have ceased to make sense. With that intention in mind, they turned to the most successful musician of the moment in the broad Spanish-speaking context: they went to the "Maestro" Jacinto Guerrero, a hero experienced in a thousand theatrical and stage lines and a cosmopolitan business man, of exceptional category. Guerrero had achieved great successes in Spain and Latin America with some of his most outstanding zarzuelas. And Guerrero also had an impeccable service record (the best possible curriculum of that time), at least from the perspective of the uprising that had won the Civil War. The present research aims to focus its study on the most specifically musical aspect of that famous production, Garbancito de La Mancha (1945). I also tried not to lose sight of the rich network of social and human relations that made it possible in the environment described, perhaps not directly hostile, but at least adverse. They were times, which were then inaugurated, of proud and wounded autarchy, when it flourished a new and still little explored artistic expression and creation. Within this environment, the cartoons, and their synchronization in the corresponding soundtrack, were going to help both children and adults to cope with the hardships of those times that were certainly difficult. Through careful analysis of sketches, gags and scenes, film rolls, cue-sheets and scores, and orchestration as well, which were conceived in the beginning for children, or better yet, for all the public, I will try to find out what were the last concerns and intentions of its creators and guest stars: Jacinto Guerrero, Arturo Moreno, Balet y Blay, and Joaqu?n Bisbe. This will be an approximation, fundamental but not exclusively musical, not explored in Spain until today.

[es] En 1945 confluyeron diversos intereses verdaderamente esperanzadores en el entorno cinematogr?fico espa?ol, ?reci?n salido de una cruenta Guerra Civil y en plena posguerra?, mientras Europa entera y occidente en su conjunto (incluidos Jap?n y Estados Unidos) se debat?an todav?a en el peor y m?s generalizado conflicto b?lico que ha padecido la Humanidad: la Segunda Guerra Mundial. Y precisamente, estos intereses (nacionales y nacionalistas, gremiales o de una incipiente industria, e incluso ideol?gicos e intelectuales), te?idos de cierto inocente entusiasmo juvenil ?pues se present?a que algo se estaba comenzando a fraguar?, iban a convertir en realidad algo que hasta entonces parec?a un sue?o: realizar el fuera el primer largometraje de animaci?n europeo en color. As?, en un contexto de guerra y conflicto, de miseria, e incluso de hambre, se reuni? un conjunto variado de profesionales (dibujantes, animadores, guionistas, m?sicos?) que se embarcaron en una aventura empresarial, en principio apenas ideada para obtener un fin diferente m?s lucrativo: conseguir licencias de importaci?n de las grandes pel?culas y producciones norteamericanas, que eran las que garantizar?an taquillas repletas y un negocio floreciente. Y en aquel ambiente, de cierta ?euforia de alpargata? (pues, con unos medios bastante limitados se pretend?a competir nada menos que con poderos?simas factor?as como la de los hermanos Fleischer, o con Disney), emergi? la m?sica. Un aspecto fundamental, indispensable, en cualquier pel?cula de animaci?n, sin el cual todo el pretendido edificio se habr?a desmoronado. Para ello, se ech? mano nada menos que del m?sico posiblemente de mayor ?xito del momento en el contexto hispanohablante, el maestro Jacinto Guerrero, h?roe experimentado en mil lides esc?nicas y un hombre de mundo y de negocios de categor?a excepcional ?pues se hab?a granjeado resonantes ?xitos en Espa?a y Latinoam?rica con alguna de sus zarzuelas m?s notables?, que contaba con una hoja de servicios irreprochable, al menos desde la perspectiva del bando sublevado que hab?a resultado ganador en la Guerra Civil. La presente investigaci?n pretende focalizar su estudio en la vertiente m?s espec?ficamente musical de aquella c?lebre producci?n, Garbancito de La Mancha (1945), sin perder de vista por ello el riqu?simo entramado de relaciones sociales y humanas que, en el ambiente descrito ?si no directamente hostil s? al menos adverso?, lo hicieron posible. Un tiempo de orgullosa y herida autarqu?a que entonces se inauguraba, del que floreci? una nueva y todav?a poco explorada expresi?n y creaci?n art?stica, en la que los dibujos animados, y su sincronizaci?n en la correspondiente banda sonora, iban a ayudar a grandes y chicos a sobrellevar las penalidades de unos tiempos ciertamente dif?ciles. A trav?s del an?lisis detenido de fotogramas, escenas, rollos de pel?cula, partituras u orquestaci?n ?en principio, concebidos para ni?os, o mejor a?n, para todos los p?blicos?, trataremos de averiguar cu?les fueron las inquietudes e intenciones ?ltimas de sus creadores y ?ltimos protagonistas (Jacinto Guerrero, Arturo Moreno, Balet y Blay, o Joaqu?n Bisbe), en una aproximaci?n, fundamental aunque no exclusivamente, musical, hasta la fecha no explorada en Espa?a.