Biography
Helmont produced a large body of masses, motets, additional sacred compositions, harpsichord pieces, and orchestral works. After studying under Brehy he took the post of organist at Ste Gudule in Brussels. He assumed the role of choirmaster at the church of Notre Dame in 1737 and came back to Ste Gudule four years later. All of his output remained within the sphere of sacred music, and each motet called for four voices plus instruments, occasionally featuring a solo singer. These motets further employed organ continuo, solo recitatives, arias, duos, choruses, elaborately ornamented melodies, and rhythmically daring passages. Rameau’s example shaped Helmont’s harpsichord collection “Pieces de clavecin,” which featured rondo structures along with possible minuets, gavottes, and gigues. His organ fugues likewise reflected French stylistic preferences.