Many of Séverac's works take the form of a suite. Chant de la Terre also adopts this form and is one of Séverac's important works, alongside the suites En Languedoc (1903–1904) and Cerdanya (1908–1911). It was composed in 1900. It bears the subtitle "A Pastoral Poem in Seven Parts," and each movement is accompanied by a poem. Compared to his later works, which are rich in freedom and originality, the compositional style of this period still retains a certain strictness, revealing the influence of his composition teacher, Vincent d'Indy. Although occasional melodic immaturity and awkwardness can be observed, Cortot pointed out that originality was beginning to emerge in his piano writing, which aimed to evoke pictorial images. From the prologue, which seems to well up from the depths of the earth, to the epilogue, which fades into the sky, a grand cycle of nature is truly depicted. In every movement, one can feel the constantly changing face of nature, making it a piece rich in the scent of the earth, truly befitting the description "composer of the countryside."

1. Prologue: The Soul of the Earth

A short overture, just over a page long. In the "Presentation of the Theme," no time signature or bar lines are indicated. In a solemn atmosphere, a Gregorian chant-like melody is sung as if in prayer. This theme reappears several times later in a transformed form, lending a sense of unity to the entire work.

2. No. 1 "Le Labour" (Tilling)

A piece depicting fieldwork. Following the prologue, it possesses a weighty atmosphere. The rhythm suggests the slow gait of an ox, the left-hand accompaniment resembles the tilled earth, and the melody flows continuously like clear air. In the concluding section, "Beloved," the heaviness dissipates, and dreamy high notes resonate.

3. No. 2 "Les Semailles" (Sowing)

A piece depicting fieldwork. In 6/4 time. The eighth-note accompaniment subtly changes, quietly repeating a swaying motion. The right-hand melody, sung with a dotted rhythmic pattern, is fresh and full of the hope of spring. Where "Angel" is noted, a faint sound of bells can be heard from afar.

4. Intermezzo "Conte à la Veillée" (Evening Fairy Tale)

A piece based on a grandmother's evening fairy tale. Its musical character, quietly progressing in 5/4 time, is reminiscent of Mussorgsky. One can find a moment of relief in the melody, which combines folk nostalgia with simple tenderness.

5. No. 3 "La Grêle" (Hail)

This movement, the most dramatic in the suite, depicts a fierce hailstorm. Here too, Mussorgsky's influence can be felt. In the "Procession of Supplication" section, the fervent pleas of people praying for the safety of their fields. As the sound intensifies, so does the intensity of their feelings. The "sound of funeral bells" heard from afar. In some regions of the Pyrenees, there is a custom of ringing bells during storms. As the storm subsides, the number of notes in the left hand gradually decreases, and the volume is reduced to pppp. The piece concludes by fading away.

6. No. 4 "Les Moissons" (Harvest)

From the outset, refreshing chords in thirds, evoking the autumn air, resonate clearly. It is a harvest festival. The heavy atmosphere is gone. Carried by a two-beat swing, it seems to express the exhilaration, joy, and gratitude of the people. The themes seen in "Prologue" and "Le Labour" reappear, giving unity to the entire piece. The wedding bells ringing at the end hint at the bustle of the final movement.

7. Epilogue "Le Jour des Noces" (The Wedding Day)

The suite Chant de la Terre concludes amidst the joy of a wedding. Carried by a 3/8 rhythm, a vibrant melody is sung festively. The "Chant de la Terre" heard here is a "hymn to the earth" imbued with divine light. It is played with a tone that seems to melt into the sky. Bells announcing dawn ring, and the music once again fades away as if enveloped by endless nature.