Lesure and Merritt’s edition of Clément Janequin: chansons polyphoniques is an example of outstanding scholarship, and the number of pieces that subsequent research suggests are not by Janequin is small indeed, a tribute to the capacity and insight of those editors and to the quality of their work. The few pieces which are recommended removed from the canon are:

Three 4-part pieces:

 LM 111 Helas mon Dieu ton ire

LM 114 Quelque frappart

LM 127 Le jeu m’ennuye

“Helas mon Dieu”, as well as being a chanson spirituelle and not really at home in an edition which otherwise contains secular works, is by Jean Maillard (see  Clément Janequin: French Composer at the Dawn of Music Publishing, pp. 138-141 for an in depth discussion.) “Quelque frappart” and “Le jeu m’ennuye” more than likely belong to Pierre Fresneau.  All three chansons are discussed in more detail in the Conflicting Attributions section of this website.

All of the 3-part pieces except LM5 “L’Alouette”.

LM220 Je demande comme tout esbahy

LM221 M’en allé veoir la belle

LM222 J’ay trop soudainmant

LM223 Quand ne te veoy

LM224 Toy Cupido qui as toute puissance

LM225 De son amour me donne jouyssance

LM226 S’il est si doux

LM227 Incessament je suis a dire tien

LM228 Dicte moys donc

LM229 C’est mon amy

LM230 Si je m’y plain

The perennial and convoluted case of  LM5 “L’Alouette/Or sus, or sus” (“The Lark”) is discussed in detail in chapter 4 of Clément Janequin: French Composer at the Dawn of Music Publishing (pp. 33-43). The remaining three-part “chansons,” which might be more correctly referred to as “quick and dirty remakes by a variety of editors” are discussed in the Conflicting Attributions and Challenged Attributions sections of this website.