‘Fomin also embodies the strongly virtuosic tradition of Russian pianists on this “Moonlight” CD. The big fists of a Gilels and Berman are audible in the octave basses in Beethoven’s introductory ‘Adagio sostenuto' part, as well as in the middle parts of the Brahms Intermezzi opus 117. The power in the attack and the richness of perspectives from the tones of the piano, whereby the recording evocative, sometimes with some force from the bass, allow Fomin to sound fully like an ambassador from the old Russian school. Beethoven’s C-sharp Sonata starts mightily, with relatively lots of rubato. The Allegretto comes with elegant light-footedness; the Trio again marked as vigorous.  Fomin gains momentum in ‘Presto agitato’ with dynamics that are rich in contrasts. The espressivo melody could be somewhat clearer, but Fomin continues to captivate with the fermatas. Even in the singsong cantabile Chopin Nocturnes op.9 No. 2 and op. 27 No. 2, Fomin sets about his work in a wholly unsentimental way.  Dynamic shifts are used a controlled manner. The accent placed on the Belcanto Allure is wonderful. Painful undertones are almost too sorrowfully played in the piece in D-flat major. Nocturnal sentiment is used very sparingly, in any case. [..]The depth of the three Intermezzi op. 117 by Brahms is fully understood by Fomin. The enduring melody, reflecting ritardandi and fine dynamic nuances are convincing. The hidden drama in the Intermezzo C-sharp minor No. 3 is notable through a worthy tempo.  With nuance-rich variety in his attack, Fomin was convincing in his approach of Debussy and Scriabin. […] The consistent, resounding tones fantastically showcase his self-composure.  Fomin plays the rather monomaniacal Scriabin Etude op. 8 No.8 with sensitive phrasing, and the more emotion-filled piece op. 42 No. 4 also with a subtle finesse. At the end, Fomin shows himself to be a grandiose Rachmaninov interpreter!’