My first contact with this composer’s music was in 1992, when a friend played Suite compostelana on the guitar. The beauty of the melody inspired me to look more closely at the score, whereupon I discovered an extensive list of piano works composed by Mompou. Several attempts in Ireland to locate recordings, sheet music or any information on the composer proved fruitless. In February 1993 I visited Barcelona for the first time and met Mompou’s widow Carmen Bravo. Thanks to her help I returned to Ireland with many resources and a great enthusiasm for this topic. In the summer of 1997 biographical research in the French city of Tarbes and satellite village of Soues yielded much of value. The kind Hi otiatiey and keen interest shown by the Mayor of Soues resulted in a rewarding interview with Mompou’s cousin, Mme Fourcade. This lady provided much insight into the historic role played by Mompou’s ancestors in bellmaking in southern Europe. Discoveries in Soues led me to the foundry in Poble Nou, Barcelona. During this trip to Catalonia I had the honour and good fortune to research the original piano manuscripts under Carmen’s watchful eye. In acknowledgement of the palpable Catalan national sentiment I have chosen to refer to Mompou’s Christian name by the local Frederic, rather than the Castilian Federico. Many of Mompou’s piano compositions do not contain a time-signature or barlines. While this practice recalls the unmeasured préludes of French Baroque keyboard composers (such as Couperin and d’Anglebert), Mompou does supply an aid to the metre by placing a single number at the beginning of each piece; this indicates the number of beats. Broken barlines have been added where necessary to facilitate analysis of the music. In five chapters this thesis considers the contribution made by Mompou to the repertory of compositions for solo piano between 1911 and 1941. Chapter one deals with a biographical sketch of the composer’s life. Mompou’s piano works encompass, in all, six decades of composition and result in a total of 114 pieces. Chapters two, three and four comprise detailed analyses of the piano works from 1911 to 1941. Chapter five offers a summary and discusses aspects of the musical language and style. Appendices provide a bibliography and select discography, a catalogue of all published and unpublished compositions to date, a list of editorial errors in the printed piano music of 1911-1941 and an abstract. The house style conforms to that of the Department of Music at the National University of Ireland, Maynooth.