Toward proving that “solo piano” is a misnomer, I might present Friday night’s recital by Tamara Stefanovich as my Exhibit A. Stefanovich knows that the piano is more than a single entity, that the trials of other composers and performers before — if not also echoes of those after — graft their own wires into its evolving circuitry. Not only did she seem to make reference to these histories, but also created an alternative one of her own. Her program was a formidable one. Titled “35 Études,” it brought together knuckle-busting pieces of varying temperament. By way of Frédéric Chopin’s “Étude in F minor (Op.