When a pianist records Janáček, he usually chooses the collection of character pieces Umpeenkasvaneella polulla, the series Sumussa and the sonata 1. oktobarta 1905. Sanna Vaarni, who is active both at the Espoo Music Institute and in Italy, has also done so. It is challenging to find lines in Janáček’s late romantic, discursively fragmented music, but Vaarni’s interpretation stands up to comparison.