Lesure and Merritt’s decisions to hold these works outside the canon seem on the whole well-founded. Authenticity and attribution, however, are subjective sciences, to say the least, especially when making decisions based on stylistic grounds, and particularly difficult in the case of a composer like Janequin, who stylistically ranged both far and wide. Arguments for and against including these pieces are detailed in Clément Janequin: Life and Works, “Chapter 45: Conflicting Attributions” and “Chapter 46: Challenged Attributions.”
Incipit Source Attribution RISM Catalogue* Setting Location
Nous bergiers et nous bergieres Cop1848 Tomas Janequin — LM8bis ttb Copenhagen: Kungl. Bibl.
Joyeusement il fait bon vivre Attaignant (anon) 1530-4 LM17bis satb Paris: Bibliotheque Nat.**
Uppsala U78 Gannechino — satb Uppsala: Universitets Bibl.
Peine et travail Susato Janequin 1552-10 n. 16 LM220bis stb Vienna: National Library b London: British Library
Une Deese en ce temps la Moderne Iennecquin 1544-9 LM107bis st Augsburg: Staats und Stadt a Paris: Bibliotheque Nationale [b] [Reconstructed: Norsen]
Mon pere m’a tant battu LeRoy&Ballard Hesdin 1553-22 LM240bis ttb Paris: Bibl. Mazarine
Amour, amour Whalley Janequin — LM230bis ttb Stonybrook satb
* Shows potential chronological adaptation to LM catalogue
** Also in Munich: Bayerische(satb), Lausanne: Cortot (s) and Eichstätt (a)