One of the most original works in the piano literature is Janácek's Capriccio for piano left-hand, flute/piccolo, and six brass instruments. The work was written shortly after a trip the composer took to England, where several of his chamber works had been performed. Composed between June to October 1926, the Capriccio was the result of a commission from pianist Otakar Hollmann, who lost the use of his right arm while in the Great War. At first, the idea of composing such a work for a left-handed pianist did not particularly interest Janácek, who was quoted as saying, "to write for the left hand...would be childishly gratuitous. More reasons were necessary." Therefore—perhaps to provide his own "reasons"—Janácek chose the unusual instrumentation at hand, creating a very unique and flexible sonority as well as a wonderful solo vehicle for the pianist. Janácek subtitled the work "Vzdor" (or "Defiance"), in reference to Hollmann's enduring will to perform and refusal to succumb to his disability. Others have suggested that the choice of instrumentation was in a sense, an act of defiance; indeed, Janácek followed few traditional practices in composing his Capriccio.

Capriccio appeared between the modernistic Concertino of 1925, and the popular Sinfonietta of 1926. In four movements, it remains somewhat of an oddity not only in the field of chamber music, but in Janacek's output as well.

The first movement, marked Allegro, presents an energetic melody in the piano, which is then transferred to the trombone and trumpet in turn. The tune is accompanied by a somewhat off-kilter oompah-band accompaniment, that sometimes veers into humorously low ranges of pitch.

The second movement divides the ensemble more discretely into groups; the piano is given center stage for the presentation of a gentle theme, only occasionally punctuated by brass inflections. The trombone then joins the piano for a rather frenetic duet, which is followed by the first entrance of the flute. Having been reserved until the middle of the second movement, the introduction of this new instrumental color is striking and effective.

The third movement is notable for its deliberate contrasting of a light-hearted tuba solo and a more sorrowful strain in the trumpet. These two temperaments struggle for control throughout the movement.

The final movement, marked Andante, is the most diverse. Begins with a duet for flute and piano, the texture soon gives way to a much more active texture featuring lively brass and keyboard flourishes. However, the piano leaves the rest of the ensemble behind and shifts the mood toward introspection during an extended, tonally dark solo. The entire ensemble then rejoins and ends the work with a lively counterpoint of triplets.

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