As a musical calling card, Itzhak Solsky's two-disc solo recital on Roméo Records is more than an introduction. It is a compendium of the most technically and interpretively difficult works in the standard piano repertoire, from Bach's serene B flat major Partita to Haydn's magnificent E flat major Sonata to Beethoven's transcendent Op. 111 Sonata, from Chopin's glittering Barcarolle to Fauré's glimmering Theme and Variations to Ravel's shimmering Jeux d'eau. As a musical calling card, however, Solsky's recital is also an all-or-nothing proposition: a great Bach/Haydn/Beethoven player is not often a great Chopin/Fauré/Ravel player, and, for Solsky, to fail at one would be to fail at all. As a musical calling card, though, Solsky's recital is by any measure an astounding success because not only does he have a virtuoso's technique, but, in any repertoire, Solsky is always only himself. Beyond his technique, Solsky has his own tone -- clear, deep, and full -- and his own phrasing -- light, smooth, and strong -- his own concept of form -- vital, vigorous, and luminous -- and his own interpretations -- lyric, dramatic, and deeply human. Any listener, presenter, or producer looking for a stunningly original and tremendously impressive virtuoso need seek no further. Roméo's recording, made at the Jerusalem Music Centre, is warm but a bit too distant.