Fomin plays Pictures from an Exhibition with the allure of a pianist for whom the score holds no technical secrets and, moreover, who knows everything about the instrument’s potential for expression. From the first accentuated and energetic notes of the “Promenade” to the last bars of the “Great gate of Kiev”, his playing is clear, nuanced, expressive and never forced. Add to this the well-dosed dynamic and the overwhelming strength (particularly in the orchestral sounding passages, with the doubling of octaves and stacked thirds), and you get a performance that carries you away, in which every note is audible, every bar autonomous and every phrase intensively experienced.