While putting together this hopefully-complete list of Ronsard settings, I have inevitably met attributions in print or online of other songs to Ronsard. I list some you might encounter here, with an explanation for their exclusion.
- Depuis le jour que l’homicide traict: a setting in Chardavoine’s large book, which opens with a slightly-adapted version of lines 2-3 from Ronsard’s Amours 1.122. The remainder of the text has nothing to do with Ronsard however. Pascal Joubaud notes that the text is nested among genuine Ronsard pieces both in Chardavoine and in another contemporary source (Walcourt’s Recueil et eslite de plusieurs belles chansons, published in Antwerp in 1576), perhaps indicating it was considered genuine at the time.
- Le printemps se couvre de fleurs: this 6vv setting by Verdonck is printed near the end of the Rossignol musical, though oddly is missing from the table of contents! (A Sweelinck setting in the table but not in the book must presumably have been replaced by the Verdonck at a late stage.) This has been attributed to Ronsard (Nouvelle Continuation des Amours) in the Ricercar online Catalogue de la Chanson Française à la Renaissance; though it shares themes and tropes with Ronsard, this text isn’t his.
- Revien vers moy: a popular text with at least half-a-dozen setings. Attributed to Ronsard in Charles Jacobs edition of the 1572 book of Meslanges published by Le Roy & Ballard, on the basis that de Monte includes a setting in his 1575 Sonetz de Pierre de Ronsard. But it’s not by Ronsard.
One other note: Severin Cornet’s Chansons Françoyses contains, of course, songs by Cornet; but the final song, Nous ne tenons en nostre main, which is usually assigned to Cornet, is actually attributed in the print to “Cornelius Verdonck, disciple de l’Aucteur”. I see no reason to consider this some sort of dedication rather than an attribution (it is written exactly as all the attributions to Cornet), so I have included this as a song by Verdonck.
Oeuvres de Ronsard 