C.J.S. Purdy’s Fine Art Of Chess Annotation And Other Thoughts (C.J.S. Purdy Gold Chess Series) [Paperback ed.] 1888710195, 9781888710199

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C.J .S PURDY'S

FINE ART OF CHESS ANNOTATION and OTHER THOUGHTS VOLU ME 1 (seco nd ed.)

Annotations to 25 World Championship Events plus Annotations to 25 High Level Master Games plus Annotations to 50 Master Games From Down Under

compiled and ed ited by

Dr,. Ralph J. Tykodi An Emory Chess A ssociation, Inc. publication. Home of the Atlanta Castle Chess Camp.

Thi nkers' Press, Inc. Davenpo rt, IA

2004

CJS Purdy's F i n e Art of Annotation Vol . 1

Copyright © 2004 Nancy (Anne) Purdy All rights reserved. No part of this book may be reproduced or transmitted in any

form or by any means, electronic or mechanical, including photocopying, recording, or by any information storage and retrieval system, without permission in writ­ ing from the Publisher. These reserved rights also pertain to e-Books and similar derivatives as well as the Internet.

First Printing: May 1992 Second, Revised Edition: January 2004 ISBN: 1-888710-19-5

Requests for permissions and republication rights should be addressed to: Bob Long, Senior Editor Thinkers' Press, Inc. P.O. Box 3037 Davenport, Iowa 52808-3037 USA ([email protected]) Booksellers, wholesalers and other distributors may write to the above address for a copy of our trade catalog and terms. Or call: 563-323-1226.

ACKNOWLEDGEMENT We are indebted to Mrs. Anne Purdy; owner of the copyright, for permission to reproduce fromAustralasian Chess Review, Check, and Chess World the material presented here.

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CONTENTS Acknowledgement Foreword

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To The Player Of Less Than Master Strength . ...

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On The An.notation of Chess Games vi Annotating ........................................................... .......................................................... vi Note on Annotating ............................................. ......... ................................................. vi ...................................................................

How To Improve vii The Best Practice ............... ............. ............................ . . ........................................ ....... vii More About Practice . .. . . . . . .. .. . .. viii ....................................................................................................

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25 Games from World Championship Events 1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 1 1. 12.

Euwe--Keres ........................................ 2 Keres-Botvinnik ................................. 3 Keres-Botvinnik ................................. 4 Botvinnik-Bronstein, 3rd Game........ 6 Botvinnik-Bronstein, 5th Game ......:.8 Botvinnik-Bronstein, 7th Game...... 10 Botvinnik-Bronstein, 9th Game ...... 12 Smyslov-Botvinnik, 1st Game......... 14 Smyslov-Botvinnik, 1 1th Game ...... 17 Botvinnik-Smyslov, 18th Game ....... 18 Botvinnik-Smyslov, 20th Game ....... 20 Botvinnik-Smyslov, 1st Game, 2nd Match .............................................. 23 13. Botvinnik-Smyslov, 5th Game, 2nd Match .............................................. 24

25 Games Master Class 26. 27. 28. 29. 30.

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14. Botvinnik-Smyslov, 15th Game, 2nd Match .............................................. 26 15. Tal-Botvinnik, 1st Game ................. 29 16. Botvinnik-Tal, 6th Game ................. 3 1 17. Botvinnik-Tal, 8th Game ................. 33 18. Botvinnik-Tal, 12th Game ............... 34 19. Tal-Botvinnik, 2nd Game, 2nd Match. ........................................................ 36 20. Botvinnik-Tal, 13th Game, 2nd Match ........................................................ 38 21. Petrosian-Botvinnik, 1st Game ...... . 40 22. Petrosian-Botvinnik, 5th Game ......41 23. Petrosian-Botvinnik, 7th Game ...... 43 24. Botvinnik-Petrosian, 14th Game .... 45 25. Spassky-Petrosian, 7th Game .........47

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Flohr-Horowitz ................................ 50 Alekhine--Nimzovich......................... 51 Reti-Alekhine ................................... 52 Szabo-Lundin ................................... 54 Stahlberg-Najdorf............................ 55 ,

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Najdorf-Fine ..................................... 57 Bogolj u bov-Schmid .......................... 58 Bronstein-Szabo .............................. 60 Stahlberg-Smyslov .......................... 61 Szabo-Kotov ..................................... 62

CJS Pu rdy's Fine Art of An notation Vol. 1

36. 37. 38. 39. 40. 41. 42. 43.

Taimanov-Bronstein . . ..... ..... ...... 63 Averbakh-Kotov ......... .. .. .. ..... .. 65 Averbakh-Byrne ... . .. . ..... ..... . ... 66 Matanovich-Tal ... . .... ... ... . 68 Keres-Tal . . ... . . . . . 70 Reti-Rubinstein . ........ ....... . ..... . 72 Fischer-Tal . ... ..... ..... . .. . .. ... .. 73 Fischer-Keres .. .... . .. .. .. . . . . 74 ..

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Lepviikmann-McNabb .... .... ........ 88 Pikler-Koshnitsky . . ... .. .... . ....... 89 Klass-Steiner . .... ....... . ... . ..... .... 90 Wood-Wallis . .............. . ... . .. ... 91 Trundle-Dyer .... ... .... . ........... .. .. 92 Hanks-Oliver .......... .... ..... ........... . 93 Lindley-Lawrence ..... ...... .... .. ... 94 Lepviikmann-Pikler ... . . . 94 Lindley-Bowman..... .. . . .. . . . 95 Kruger-Hanks . .... .... .. ... .... 97 Shoebridge-Watson .. .... ..... ........ 98 Crowl-Lemezs . ... . ... ... . . .. ... . 99 Koshnitsky-Kruger ............ . ...... . 101 Watson-Goldstein ... ... . ... . .... 102 Crowl-Ihnatenko ...... . . . ............ . 103 Pavia-Pietzcker ... .... ..... .... ..... 104 Bowman-Klass ..... ... .... .... . ... 105 Ozols-Klass . . .. . ..... . . ..... 107 Endzelins-Hanks .. . .. . .... .. 109 Kellner-Panchenko .... ..... . .. .. .. 1 10 Lynch-Wagstaff ........... ... .... . .... 1 1 1 Lazare-Hanks . ... . ... ..... .... .. ... 1 12 Turner-Sarapu . ... . . .. .. .. . ... . 1 13 Arnlind-Klass ... ... . .... ... . .... .. 1 14 Green-Crowl ..... ........... .... .. .. . 1 16 ..

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76. 77. 78. 79. 80. 81. 82. 83. 84. 85. 86. 87. 88. 89. 90. 91. 92. 93. 94. 95. 96. 97. 98. 99. 100.

What's Wrong With Everybody's Chess? Tactics

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. 87

Foulds-Phillips ........ ..... ... . .... . .. 1 17 Zile-Kuszelansky .. ... ... . . . ... .. 1 18 Bleicher-Kellner .. ...................... ... 1 19 Hanks-Basta . .......... .......... ..... .. 120 Andreasson-Lazare ... .. ............ 122 Lazare-Hanks .... .. ...... ... ......... 123 Basta-Sarapu .... .... .. . ... ... .... 124 Sarapu-Endzelins . . . 125 Fbster-Leonhardt ... .... ... ......... 127 Sarapu-Ozols .. ................. . ... .... 128 Kuszelansky-Learner ..... . . .. . 129 Hanks-Klass........ . ....... ............... 130 Viner-Shmeleff . ..... ..... . ... . . 132 Crakanthorp-Crowl.... ........ ..... .. . 132 Koshnitsky-Bleicher .. ... . . .. 133 Ozols-Koshnitsky ... ... ........... ... 134 Bleicher-Armstrong . ......... .... .... 135 . Crowl-Geus . ..... .......... .... .... .... 136 Crowl-Fell ... . ... .... ... . ..... 137 Lazare-Watson .. .... ... ..... ... ... 138 Koshnitsky-Ozols . ... ... ..... .. . 139 Hay-Viner ..... .. . .. . . ... .... 140 Hamilton-Ozols .. .. . .. .... . 141 Crowl-Steiner . . . . ... . . . . .. . 141 Woodhams-Koshnitsky .. .. ... ... 143

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The Purdy Library

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50 Games Master Class from Down Under . 51. 52. 53. 54. 55. 56. 57. 58. 59. 60. 61. 62. 63. 64. 65. 66. 67. 68. 69. 70. 71. 72. 73. 74. 75.

Keres-Geller ......... .... .... .. . . 76 Gligorich-Keres . ..... .. .. .. . .. .. 77 Fischer-Bisguier . .. ..... ... .. . . 78 Petrosian-Portisch . . . .. . . .. ... 79 Geller-Spassky . ... . . . . . .. . . . . 81 Fischer-Reshevsky ... .... ..... ... 83 Fischer-Stein .. .. ... . ..... .. . .. .. . 84

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FOREWORD

C

.J.S. Purdy (1906-1979) was an International Master, a World Correspondence Chess Champion, and the editor of a series of Australian chess magazines. He left the chess world a rich legacy in his games, his books, his magazine articles, and his game annotations. Those who do not have access to the magazines Purdy edited -Australasian Chess Review ( 1929-1944) , Check ( 1944-1945), and Chess World ( 1946-1967) - do have available his book Guide to Good Chess ( 10th ed., 1974*), the book C.J.S. Purdy : His Life, His Games, and His Writings (J. Hammond and R. Jamieson, editors, 1982*), and the bookHow Purdy Won : The Correspondence Chess Career of a World Champion (C.J.S. Purdy, F. Hutchings, and K. Harrison, 1983*). In these books the student of chess will find Purdy's distillation of such general principles as the game affords (Guide to Good Chess) and will have ac­ cess to a generous sample of Ptirdy's games and magazine articles. What has been lacking up to now has been a rich sample of Purdy's annotations to games other than his own - this book is an effort to make up for that lack. Reprinted here are Purdy's annotations to 100 games of chess appearing in Chess World ( 1946-1967), 25 games from world championship events, 25 games involving international masters and grandmasters, and 50 games involving players from Australia and New Zealand. This book can be viewed as a textbook on how to play good chess for the player of less than master strength and as a collection of good games with good notes for the strong player. In all his game annotations Purdy is didactic: he points out good moves by the winner and bad moves by the loser; he suggests better moves for both; and he often relates the adequacy of a move to the principles of good chess. In addition to offering instruction in good chess in his annotations, Purdy sometimes demonstrates points by means of variations and sub-variations (the technical side of analysis). Especially recommended to the strong player are the annotations to the first 50 games for their accuracy and their suggestiveness. Recommended to the player of less than master strength are the annotations to the last 50 games for their rehearsal of the principles of good chess. All games reprinted in this book are from Chess World ( 1946-1967). * New editions of these books are available in the Purdy Library of Chess.

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OS Pu rdy's Fine Art of An notation Vol . 1

TO THE PLAYER OF LESS THAN MASTER STRENGTH

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f you are an "average" chess player, i.e., a player with an Elo rating of (say) less than 1900, and you wish to improve your game, make a serious study of Purdy's writings. Read Guide to Good Chess and go over the articles in C.J.S. Purdy: His Life, His Games, and His Writi ngs; then play over the games in this book (starting with the back 50 and working forward into the front 50) in the manner recommended by Purdy: take the side of the winner; cover the moves with a card and select a move based on the position on the board; then uncover the move actu­ ally made and compare your move to the player's actual move - think about the advantages and disadvantages of your suggested move versus the move actually: played, and absorb Purdy's comments where they appear. After having gone through such a cycle of Purdy material, go back and do it again. Several months spent with Purdy should result in a substantial increase in your rating-see the article THE ROAD TO 2000 (How to Become an Expert) in Vol. 3 of the series. Here is a collection of 100 hard-fought, interesting games of chess with truly marvelous notes by C.J.S. Purdy - notes that illuminate the nature of the struggle and that teach what good chess is all about.

ON THE ANNOTATION OF CHESS GAMES

Annotating (3-4165) It may be as well to explain that when we annotate a game, usually we do not

write all the notes for players of the same standard. Detailed notes on the openings are for advanced players and may well be ignored by learners. The same goes for complicated analysis. But some notes are explanatory and will usually help players of various strengths. A great mistake many players make is to feel disheartened if they don't un­ derstand fully every game they play over. This might take a book a game. If you understand some of a game, you are the gainer, and gradually you will find yourself understanding bigger slices.

Note on Annotating (6/61) In a sense, almost every cross-board game of chess is a story of missed chances. When annotating, one cannot hope to spot them all, nor would the result be very -vi-

entertaining if one could. The annotator does better to try to convey the ideas of the players. A mere recital of possible improvements on their play is not true an­ notation.

HOW TO IMPROVE

The Best Practice (8/47) The one infallible way to improve is by practice, but I don't mean just playing chess. That is certainly helpful, provided you record your games and go through them afterwards trying to run your mistakes to earth - still more if, in addition, you have a coach to go through them with you a third time. If by any chance you can afford coaching, this is by far the most valuable kind; other kinds of coaching can be gotten from books, and far more cheaply. But by practice I mean playing against champions - any master will gladly play you at any time of the day or night, and, moreover, bring along two other masters to help you out. They don't ask for fees or even refreshments; as a matter of fact, they may all be ghosts from the last century, but they will play none the worse for that. The masters who are there to help you do not interfere much. They leave you to study the position for yourself. When you make your move, however, one of them says, to your great delight, "Yes, just what I'd have done." Or - more often than not if you are a beginner - he will say politely, "No doubt an excellent move - I had in mind Rook to e2, but still . . . That is all this man will ever say, but you must immediately retract your own move and play his; these chaps are very touchy, underneath their old-world cour­ tesy. You are allowed to ask what is wrong with your move, but you must ask the third man. Sometimes he will merely give an enigmatic smile and suggest that your evident skill is quite equal to the task of working out the answer. At other times he will be much more helpful, and give you quite a lecture on the position. Sometimes he will say in a whisper, so that his crony will not hear, ''As a matter of fact, old chap, your move is just as good" - or even, "Well to be quite candid, my highly talented friend has made an oversight." And so the game proceeds. Your man will never lose the game for you, though he may be held to a draw. At the game's conclusion your benefactors will vanish, but you can instantly summon three more by the simple process of turning a page. I have simply described exactly what happens when you play over a game be­ tween a couple of champions, covering the winner's moves with a card until you have worked out what you would play at each point. You must never look first. Your third visitor - the one who is alternately garrulous and enigmatically silent - is, of course, the annotator. What is the superiority of this form of practice over a regular game with Smith? Obviously this: that Smith and you have nobody to point out your mistakes. You and Smith will go on making the same sort of mistakes year after year, while the student player is continually raising himself nearer to the level of his ghostly visitors. "

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CJS Purdy's Fine Art of An notation Vol . 1

It is true that a beginner would get on still better if the annotator would turn on more garrulity and less silence. But space limitations prevent that. However, what does it matter if some moves in a game completely baffle you? If you do understand many of them, you have learned something, and gradually a smaller and smaller percentage will baffle you.

More About Practice (9147) I said previously that practice was all-important, but that I did not mean play­ ing games against actual opponents. What I meant was playing over the games of champions - and I explained the proper way to do it. Play one side only - usually the winner's, if it is not a. draw. Cover the moves with a card in which a niche is cut out of one corner. Think out each of your side's moves before you look, taking as long as you would in a match game. Use a chess clock if you have one. Having thought of your move, actually make it on the board. That is vital; oth­ erwise you will constantly be tempted to cheat yourself. Then slide the card over till the move is exposed by the niche. If you guessed differently, try to find out if and why your move was bad. Never let your eye stray over an annotation beforehand. Look at the opponent's reply immediately. For one thing, it may assist you in discovering some fault in the move you yourself had made. It is absolutely necessary to play over games if you want to become a strong player. Talented players have become champions without swotting openings, with­ out frequent practice against live opponents, without indulging in correspondence play, without reading many books -but no one has ever become a champion without playing over plenty of first-class games. Even Morphy had to learn that way. It is clear that in his youth he played over practically every game published in his day. It was said by Maurian, his friend, that Morphy played only about 500 games against live opponents in his life. The true figure was certainly much greater, but it is probable that before he played in his first and only tournament - the inaugural American championship event which was the prelude to his veni, vidi, vici of Europe - he had played fewer than 300 actual games, few enough to show how relatively unimportant they were in his development compared to his study of published games. Combe, the obscure Scottish master who won the British championship at his only attempt last year, did so after having no over-the-board practice for six years. But night after night he had indulged in his favorite hobby of playing over master games, and therefore there was nothing in the least astonishing in his victory. Right methods must produce good results, and the only reason for good results being relatively few is that relatively few players follow the right methods.

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25Gamcs FROM WORLD CHAMPIONSHIP EVENTS

OS Pu rdy's Fine Art of An notation Vol. 1

1 Euwe-Keres (4/48) World Champ. Tnmt. Ruy Lopez (Steinitz Def. Deferred) 1. e4 e5 2. Nf3 Nc6 3. Bb5 a6 4. Ba4 d6 5. c3 Bd7 6. d4 Nge7 7. Bb3 h6 To stop Ng5. Now M. C.O. gives 8. Be3 for White, but suggests 8. h4 as stronger. Euwe rejects both moves in favor of a lengthy but logical Knight maneuver. 8. Nbd2 Ng6 9. Nc4 Be7 0-0 10. 0-0 Both players have been working hard already, the times now totaling 75 minutes. 1 1 . Ne3 Bf6 12. Nd5 ed4 Re8 13. Nd4 Qf6 14. Nf6t White has obtained the two Bishops but is a little behind in development, and Black's Knights command strong points. But White has the best of the center, and his position is preferable. 15. f3 Nf4 16. Nc6 Bc6 Rad8 1 7. Be3 Ng6 18. Qd2 19. Bd4 Qe7 20. Rae1 Qd7 Ba4 21. c4 Seizing the chance of a freeing exchange. 22. Ba4 Qa4 f6 23. Qc3 Times: White 1:43, Black 1:53. Kh7 24. f4 25. b3 Qd7 26. Qf3 b5 27. Qd3 Euwe shows vacill ation here. Either this or his previous move was wrong,

perhaps both. bc4 27. ... 28. Qc4 Re4! Initiating some brilliant play. Euwe may have seen this combination but underrated it. d5 29. Re4 de4 30. Qa6 Pitting central pawns against wing pawns is typical of Keres. 31. Be3 Qg4 32. Qc4 Rd3! The first point. If 33. Qe4, 33. . . Qe2. 33. Bet Nh4! ! This is really beautiful. Euwe has only four minutes for his next seven moves. f5 34. Qe4t c6! ! 35. Qb7 Giving a second pawn for apparently nothing at all. 36. Qc6 Rc3! 37. Qd5 To meet .. Rc2 with Bd2. 37. ... Rc5 ! ! 38. Qd2 Rc1 ! White cannot take the Rook either way, but Black still needs to play well to win. 39. h3 Qg3 Qf4! 40. Qe2 41. Rc1 Qc1t 42. Kh2 Qf4t Sealed move. Ng6 43. Kg1 Ne7 44. Qc2 45. a4 Qd4t 46. Kh2 Qe5t Nd5 47. Kg1 Threatening ... Qel f and . . .Ne3. Nc3 48. Qd1 49. Qc2 Kg6 Preventing b4 (... Qd4f). 50. Kh1 Qe1t Ne2 51. Kh2 Kh7 52. Qc6t

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World Champion s h i p Games

53. Qc5 To stop Qgl mate. 53. Ng'J 54. Qd6 Nftt h5 55. Kgt White overstepped his time. Euwe's flag fell as he picked up his Queen to play 56. Qf4. Black would then win by 56... Ne3f 5 7. Kh2 h4!, threat­ ening . ..Nf1-Ng3 and ... Qhl mate. [Note, 5/48] Several wide-awake correspondents point out that against Euwe in the first round of the world championship tour­ ney, Keres missed a quicker win by 39... NfJf! instead of . . . Qg3.

2 Keres-Botvinnik (5/48) World Champ. Tnmt. English Opening 1. c4 e6 2. g3 d5 3. Bg2 d4 Very interesting. Most players would not consider this after playing . . e6. 4. b4! c5 Not . . Bb4?? of course. 5. b5 e5 Bd6 6. d3 7. e4 Qc7 h5! 8. Ne2 White threatens to take the initiative with f4 and in some lines f5. Therefore Black threatens . h4, when he would have the option of opening the h-file, thus avoiding cramp. 9. h4 Nh6! And now White's f4 will create a delightfully weak square at g4. 0 ko ! This is white man's magic. Bg4 tO. 0-0 Be6 tt. f3 Bg4 t2. f4 t3. f5 Nd7 What a miserable game Black would .

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have if he had quietly developed with, say, 8... Ne7?? 9. 0-0Nd7 10. f40-011. f5. Moral: beware of cramp. t4. Nd2 g6! t5. fg6 fg6 Be7 t6. Nf3 Qd6 t7. Rf2 Won't say where his King's going. t8. Bh6 Rh6 t9. Qd2 Rh8 20. Ng5 Nf6 Both, especially Botvinnik, were well behind schedule on their clocks: Keres, 1:39; Botvinnik, 1:44. 21. Ret Qb6 22. Nf3 Nd7 White is pleased at getting this Knight back, but there's new intrigue afoot. 23. Ng5 Rf8! Bf8 24. Rf8 Even Botvinnikwas finding the going tough. Two hours already for him. 25. a4 Bh6 This was the intrigue. 26. a5 Qf6 When Botvinnik has to quit a place, he's already got a new one he wants to go to anyway. 27. Net 0-0-0 Pillsbury once told Napier, "Castle because you must, or because you will , but never because you can." This game will go down as a model of delayed castling. 28. Nb3 Rf8 29. Rat Qe7 30. Qct Kb8 Rf7 3 1 . Ra2 Threatening . . Nf8-Ne6 and thus practically forcing White's next. Both players now had 15 minutes for nine moves. Bg5 32. Qa3 33. hg5 Bdt ! Breaking the tie-up. Did 29. . . Qe 7

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CJS Purdy's Fine Art of Annotation Vol. 1

puzzle you? That was just protecting the c-pawn in advance. Bb3 34. Qc1 ! 35. Rb2 Bd1 ! White's ingenuity is circumvented. Having to give up a pawn, he wanted to lose it his own way. But Botvinnik wants the g-pawn, which keeps him from his prey. Qg5 36. Qd1 Now he has a pawn and an attack as well. Keres once said, "I don't know how Botvinnik ever loses a game." Now he may be puzzling out how anyone draws with him. 37. Qe1 Nf8 Qf6 38. Kh2 Nh7 39. Bh3 40. Qd1 Ng5 Keres now seals. h4! 41. b6 42. Qg4 hg3t Rf8 43. Kg'J Ka7 44. ba7t Nh3 45. a6 Qf4t 46. Qh3 Qf1t 47. Kg2 48. Kh2 Rf2t 49. Rf2 Qf2t 50. Kh1 Qe1t Qe2t 51. Kg2 52. Kg1 If 52. Khl, 52... Qh5. 52. Qe3t 53. Qe3 de3 Kb7 54. ab7 55. Kg2 Kb6 56. Kf3 Ka5 57. Ke3 Kb4 g5 58. Kd2 59. 0-1 Since writing these notes we have seen some overseas comments on the Keres-Botvinnik game, describing it as "the worst game in the tournament so far" and more to the same effect; but

we have seen no attempt to show where Keres could have improved. Alexander says in theB.C.M., "It is very difficult to know what to say of this disappointing game." That was our impression at first. Then we began investigating the real difficulties confronting Keres after Botvinnik' s inspired 8. . . h5, and his apparently wooden play becomes un­ derstandable. Botvinnik kept setting his opponent problems which he never satisfactorily solved; no doubt critics will discover the solutions, given time.

3 Keres-Botvinnik (7/48) World Champ. Tnmt. French Def. 1. e4 e6 2. d4 d5 3. Nc3 Bb4 B otvinni k's f avor i t e Win awer Defense. 4. Bd2 A gambit succe s s fully tried by Alekhine against Flohr at Notti ngham 1936. By the way, the contrast between Alekhine and Botvinnik comes out most clearly in their treatment of the open­ ings - Alekhine willing to adventure anything and supremely confident of his ability to outplay his opponent in unfamiliar lines, Botvinnik sticking to a rigidly limited repertoire. Botvinnik, as C apablanca did, strives to reduce the hazards of over-the-board play. Ale­ khine preferred to capitalize on them. de4 4. ... 5. Qg4 Alekhine played 5. Ne4, but sug­ gested the text move. It [Ed. : 5. Qg4] occurred in Karoly-Fryda (194 7). Fryda played 5... Qd4, and after 6. Ne2 we suggested 6... Qf6 as a possible refutation of the gambit. Botvinnik declines

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development with 1 7... Rd8, then prob­ ably 18. Be2 Rdl t 19. Rdl and White threatensNf4, while his g-pawn is quite safe. 18. Qg3 Qc5 Rc8 19. Qc7 20. Qf4 Qe3t The idea of his 1 7th: to return the pawn and simplify, hoping to end up with a peaceful draw after all. Qf4 21. Rd2 ! e3 !? 22. Nf4 Rg5 23. Rc2 White's advantage looks fairly small at first sight. He has the two Bishops, but his development is a little behind and his Rook is pushed off the open file. However, Black's advanced pawn is very precarious. Nf2? 24. Be2 This loses time. Had Black only a choice of evils? (One could analyze this position for hours, but Botvinnik was probably already in clock trouble.) 25. Re1 ! Rd8 If ...Bg2, Rgl. Rf5? 26. g3 Preparing a desperate but futile combination based apparently on a complete oversight, presumably under acute time pressure. However, the e-pawn cannot be saved, so Black would ultimately lose anyway. 27. Bf1 Rf4 28. gf4 Nd3t Rd3 29. Bd3 30. Rc3 Rc3t Nf5 31. Bc3 On move 26, Black had presumably reckoned on following this with . . .Bf3 and . e2. 32. Bd2 The killer. Kd7 32. b6 33. Be3 34. Bf2 f6

the pawn to avoid prepared analysis. Nf6 5. 6. Qg7 Rg8 7. Qh6 Nc6 8. 0-0-0 Rg6 9. Qh4 Bc3 Not 9.. Nd4 10. Bg5Be 7 11. Nb5, etc. 10. Bc3 Qd5 1 1. b3 All right to weaken the dark squares because he has a dark-squared Bishop, and Black hasn't. Ne7 11. Bd7 12. f3 13. Bb2 Bc6 If 13 ... Nf5, 14. Qf4 threatens both g4 and Qc7, while . ef3 would bring White's Knight in. 14. c4 Qf5 Black has defended solidly, and threatens to castle with a promising position. White decided to offer a pawn again to regain the initiative. 15. d5! ed5 de4 16. fe4 Now Black cannot castle, a disability which he apparently underestimated. Better was 16. . . Ne4, but White still re­ tains fair compensation for his pawn. As a basis for discussion, we give 1 7. Nh3 Rg4 18. Qh6 0-0-0 19. Qe3 Kb8 20. g3 follow.ed byNf4 (for Bh3) or Be2 or Bg2 according to the reply; or if 20... d4?, 21. Bd4 and Black can win the Rook only by giving up both Knights. Or in this, 1 9... b6 20. g3 (threat Nf4 and Bh3) dc4 21. Rd8f Kd8 22. Bc4 Nd5 23. Qh6 (hitting the Bishop) with a very wild game in which White still has about a pawn's worth of chances. One can understand Botvinnik shying at such hard work. He had "had it." 17. Nh3 Ng4 But now perhap s he found that the calmer-looking position required harder work still. If he completes his .

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CJS Purd y's Fine Art of Annotation Vol . 1

h5 35. Kd2 Nh6 36. Kd3 f5 37. Bh4 38. Re7t Kd6 1-0 39. h3! He's a real bulldog, but must now lose a Knight. A well-earned win by Keres.

4 Botvinnik-Bronstein (5/51) 3rd Game French Def.

1. d4 e6 2. e4 d5 3. Nd2 c5 By the way, note that Black i s employing what we call the Tarrasch System - incidentally, against the Tar­ rasch Attack. ed5 4. ed5 5. Bb5t Bd7 Be7! 6. Qe2t From time immemorial, the answer has been 6. . . Qe7; yet the text move, which we believe is new, commends itself at once, as White's Queen has placed itself on an open file which it must ultimately vacate, with inter­ ruption in development. 7. dc5 Nf6 8. Ngf3 0-0 Of course White cannot hold the pawn, e.g., 9. Nb3 Re8 10. Be3 Bc5! (if Nc5, ... Qa5f). Re8 9. 0-0 Bc5 10. Nb3 a6! 1 1 . Qd3 12. Bd7 Nbd7 Some players would now snatch at 13. Nc5 to exchange Knight for Bishop. But once a player no longer has both his Bishops, Knights and Bishops become practically equal; and 13. Nc5 would re­ tard White's development, as his Queen would again be hit. Bf8 13. Bg5!

The Q-Knight is now needed to sup­ port his fellow. Black's Bishop goes to a good place, for a white Knight on d4 could go to f5, and that might call for ... g6, which in turn calls for . .Bg7. Is the obvious . ..Ba 7 better? 14. Rad1 Qc7 h6 15. c3 16. Bh4 Re4 A nuisance move which can at least do Black no harm, for if a Knight hits the Rook it orilywithdraws from the key square d4. Qb6 17. Bg3 18. Nfd2 Ree8 Rac8 19. Qc2 g6 20. Nf3 Bg7 21. Rfe1 22. Re8t Re8 23. Bf4 Bf8 Quick change of plan. Black vis­ ualizes White's Bishop on d4, when he wants to play ...Ne4 without a Bishop swap, which would weaken his King's position. Kh7 24. h3 Ne5 25. Nh2 Qc7 26. Be3 27. Bd4 Ne4 28. Be5 Qe5 29. Ng4 Qf4 If now 30. Rd5, 30... Ng3! 31. Rdl (if fg3, the Rook and Queen attack on the 1st rank) Ne2f 32. Khl h5 33. Knight moves Q/2. Qd6 30. Qc1 Inviting 31. c4 when comes 31 ... h5! 32. Rd5 Qc7 33. Ne3 (if Nh2, ...N/2) Bh6 (threat .. .Nf2) 34. Rd3 Qf4 35. Qe1 Nf2. These players set horribly deep traps. 31. Qc2 Nf6 Not satisfied with repetition (... Qf4). But the position that now results is at last clearly, if only slightly, favorable to White. 32. Nf6t Qf6

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Again the Greek gift . This time, Rd5?? is right out - exercise for readers. Rd8 33. Qd3 Black is reduced to moving his Rook from the open file, and the initiative passes to White. Typical isolated d-pawn situation. Bg7 34. Qe3 35. g3 Strengthening at any rate his dark squares, reasonable enough against a dark-squared Bishop. This is the typical safe position for a King in a faradvanced middlegame where Queens and Rooks dominate - King able to oscillate between g2 and h2, with the f-pawn unmoved, preventing any lateral check. h5 35. 36. Kg2 Rd6 37. Nd4 Rd7 Bh6 38. Nf3 39. Qd4 Qd4 Exchange of Queens accentuates an endgame weakness (isolated d-pawn) , but it would be dangerous to let White's Queen become too dominating. Bg7 40. Nd4 41. Nc2 The sealed move, by which White can force the win of the d-pawn. If ever a game hung by a thread, it is Black's now.

one realizes how deep it is. An obvious move is 41 . . . Rd8, which would prevent the combination now possible for White; but Lajos Steiner points out that 42. Rd3! first, and thenNe3 would win the pawn painlessly. Another try is 41 . . . Rd6, for counterplay on the queenside; and against this, 42. Rd2 looks best, again threatening Ne3 (43. Ne3 d4 44. Nc2 d3 45. Nel or 45. Nb4, winning the pawn.) 42. a4 An amazing choice at first sight, as White could win the pawn prettily by 42. Ne3 d4 43. Nc2 d3, and now not 44. Nel ? but 44. Nd4! Bd4 45. Rd3. The Bishop is then lost, but Black cannot get his pawn back. However, after 42. Ne3 d4 43. Nc2 Bronstein's idea was almost certainly 43. . . b5!, as Lajos Steiner points out. Now if 44. Nd4, 44... b4 greatly weakens White's queenside pawns, providing probably enough counterplay to ensure a draw; and if 44. cd4, 44... Rd5 with an efficient blockade, as White's King can be shut out from e5 by . . . f5. It is not certain that Black would draw, but it is probable enough to justify Botvinnik's decision to retain a positional advantage instead of givingit up for the pawn, especially as he could reckon on Bronstein's having analyzed the more obvious play very thoroughly. The text move prevents . . b5, and thus prevents Black's threatened sim­ plification on the queenside. 42. Rd8 43. Kf3 Bf6 44. Nd4 Kg7 45. Nb5 Kf8 46. Nc7 d4 47. c4 Be7 48. Nd5 Bc5 Re8t 49. Ke2 50. Kd3 b6 .

41. . . a5 ! ! For a long time this looks silly; then .

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CJS Purdy's Fine Art of An notatio n Vol . 1

See diagram. It looks somewhat win­ nish for White, as the Bishop is tied. However, Black has the mobile Rook. If White could swap the Rooks and then get his Knight to f3 (both attacking the pawn and preventing .. .Ke5), he would win. But he cannot yet swap the Rooks, for if Rd2, there comes inva­ sion by . ..Rel; and if Kd2 the answer is . ..d3! And if rJ to secure this pawn, the square f3 is in any case taken from the Knight later on, while if f4 the white g-pawn could be fixed by .. .f5 so that ... d3, when it came, would still threaten . . .Bf2. These are some of the problems; we don't say there is no solution, but at any rate Botvinnik does not find one. Or does he? See note to move 58. 51. g4 Kg7! Now threatening counterplay in the h-file. 52. Rh1 A curious move, " prophylactic" against . . . hg4, and intending g5 if . ..Rh8. h4 52. ... 53. g5 This fixes all the black pawns. That suits the Knight, but White himself is vulnerable at several points. 53. Re5 54. Rg1 Kf8 55. f3 Placing Black almost in zugzwang, as 55... Ke8 would be met strongly by Nf6f and Ne4.

55. ... Kg7 Thus, at least the entry of Black's King is delayed. 56. f4 Re8 57. Kd2 At last! 57. ... Re6 58. Re1 Bondarevsky has suggested the subtle improvement 58. Rg2!, threat­ ening the exchange on e2 instead of e1 and thus gaining a move, as Black cannot improve his position meanwhile, e.g., if 58. . . Kf8, 59. Rg4! If 58. . . Re8 (what else?), 59. Re2 K/8 ( ...Re2f loses, Black being a tempo behind on the ac­ tual game) 60. Nc7 Re2t 61. Ke2, and again the same thing, as White's Knight is ready to go to b5. Did Botvinnik miss a win here? 58. Re1 59. Ket Kf8 60. Ke2 Ke8 61. Kd3 Kd7 62. Ke4 No u s e st aying on d 3 , b ecause Black's King would enter at f5. See note to move 53 . 62 . . .. Kd6! 63. Nf6 Ke6 Now White is set for the final coup, the attack on the d-pawn. But alas it is useless, for the Knight has few av­ enues, and if 64. Ng4, there comes the old . .. d3!; and ifNd5 (for Nc7-Nb5), then ...Kd6 as on move 62. Therefore Drawn by agreement.

5 Botvinnik-Bronstein (5/51) 5th Game Nimzo-Indian Def. 1. d4 Nf6 2. c4 e6 3. Nc3 Bb4 4. e3 0-0 5. Bd3 c5 6. Nf3 b6

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World Championshi p Games

The logical move here, as White cannot play f3 to support e4, nor is d5 quite satisfactory, while e4? at once would give an isolated doubled pawn ( ... cd4 and ...Bc3). Bb7 7. 0-0 8. Na4 Planning a queenside advance, but it's slow business and says little for the opening system adopted by White. 8. cd4 Be7 9. a3 Qc7! 10. ed4 If 1 0. . . d5, 11. c5. This variation explains White's transposition, as the pawn on a3 (for b4) fits in with c5. Ng4! 1 1 . b4 Forcing a glaring weakness; but had White prevented it, e.g. , 11. h3, then 11 . . d5! would have forced the isolation of his d-pawn (because c5 would lose a pawn). White'sNa4 would then have become a meaningless move. Rather than abandon his plan, White submits to a weakened King. This need not be fatal, as White stands better in the center. 12. g3 f5! Black has an ideal "Dutch" position. The avoidance of . . d5 kills two birds ((a) keeps the Q-Bishop powerful, (b) takes the sting from c5, as it would not create a passed pawn) , and the challenge by . d6 would always be available. 13. Nc3 a6 To stop Nb5. 14. Re1 Nc6 15. Bf1 The weakened squares require the Bishop. See note to Black's 13th in the 3rd game. Nd8 15. 16. Bf4 Bd6 1 7. Bd6 Qd6 Nf7 18. Bg2 .

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19. c5 Qc7 Rae8 20. Rc1 Note the good old Rook formation favored by Labourdonnais, Anderssen, Morphy, and Co. 21. Na4 White is reduced to colorless oscil­ lations with the Knight. Idea, to remove any pressure from his c-pawn in order to play d5 and cut off the devilish Bishop. b5 21. 22. Nc3 f4! fg3 23. d5 24. fg3 Breaking the rule about capturing toward the center. The pawn on f2 could become a target. 24. ... ed5 25. Qd4 He's on gunpowder now. If 25. Nd5 Bd5 26. Qd5 Ne3 27. Qd2 Ng2 28. Qg2 Ne5 29. Ne5 Re5 30. Re5 Qe5 White is lost, because his King is exposed and Black's Queen and Rook have the files. Nf6 25. 26. Nh4 Re5 27. Re5 Qe5 28. Qe5 Ne5 Nc4 29. Nf5 30. Rd1? Probably overlooking the force of Black's reply. Perhaps he did not like to develop Black's King for him, e.g., 30. Ne7f Kf7 31. Ned5 Bc6 (what better?) 32. Nf6 Kf6 33. Nd5f; but if then 33. . . Ke5, Levenfish points out that White has a draw by perpetual check (34. Rel f and 35. Rdl f). So Black would have to avoid this line, and it is doubtful if he could show a winning advantage. This is not surprising, since, despite all Black's ingenuity, White always had a little central superiority to offset the insecurity of his King. Kh8! 30. ...

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OS Purdy's Fine Art of Annotation Vol . 1

Pretty; if now 31. Nd5, 31 ... Nd5 32. Bd5 Bd5 33. Rd5 g6 34. Knight mov es Ne3 threatens mate and catches the Rook. Na.3 31. Re1 Bc6 32. Nd6 33. Rat Nc2 34. Ra6 d4! A fine combination, more decisive than 34. . . Nb4 35. Rb6. Bg2 35. Ncb5 Ng4 36. Kg2 d3 37. Nf5 Naturally not ...Rf5???White has no time to save the Knight anyway. 38. Rd6 Rf5 39. Rd7 If the other pawn, 39... Nel t 40. Kh3 Nf2t 41. Kh4 Ng2 mate (stronger than ...Nx d3). 39. ... Nge3t 40. 0-1 Mate next move, either way. An el­ egant finish to a wonderful display of finesse plus sheer force.

6 Botvinnik-Bronstein (6/51 ) 7th Game Catalan (Dutch Def.) 1. d4 d5 2. c4 e6 3. Nf3 c6 The Semi-Slav Defense, which has the merit of reserving a transposition into the Dutch Defense. The K-fian­ chetto is the most favored strategy against the "Dutch, " hence White's next move. f5 4. g3 5. Bg2 Nf6 6. 0-0 Be7 7. b3 0-0 We are now in a well-worn variant of the "Dutch." 8. Ba.3!

The inherent weakness of the Stone­ wall "Dutch" is quite obviously the dark squares. Therefore it is logical to ex­ change off the Stonewaller's brunette Bishop - surprising how seldom it has been done. 8. ... b6 Always a bit weakening in the "Dutch." However, if 8. . . Nbd 7, inter­ estingis 9. Ng5Bll3 10. Nll3 Qe711. Nc2; and if 11 . . . dc4, 12. bc4 e5 13. d5 with at least a slight advantage to White. 9. Be7 Qe7 Bb7 10. Ne5 Nbd7 1 1. Nd2 12. Nd7 To support the Knight by f4 would be doubtful, as Black would have pos­ sibilities after . . . c5 of exchanging off White's light-squared Bishop, when White's light squares would become even weaker than Black's dark ones, as White has playedg3. The main purpose of Ne5 was to give the Bishop scope. 12. ... Nd7 13. e3 This move has occurred persistently against the Dutch in the course of the match. It is aimed mainly at . . . f4. It lends color to our idea that the K-fi­ anchetto may, after all, not be the best play, since e3 could of course be used to develop the Bishop on its original diagonal and g3 omitted. 13. Rac8 14. Rc1 c5 15. Qe2 Nf6 16. cd5 Bd5 1 7. Bd5 ed5 You may say that now White has voluntarily saddled himself with weak light squares. Yes, but he obtains a Tar­ rasch Knight on e5. 18. Nf3 Rc7 19. Rc2 Rfc8 20. Rfc1 Ne4

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Black's Knight is not an out-and­ out Tarrasch, as he can, at a pinch, be ousted by iJ. 21. Ne5 Nf6 Black cannot find any way to im­ prove his position. On the other hand, White , whose Queen is better than Black's, and who has, in general, the initiative, should be able to improve his position in little ways, provided he always treads carefully and doesn't al­ low a counterattack. 22. Qd3 g6 Kg7 23. Qa6 Point is that ... cd4?? loses by Qc8f. Black could have exchanged pawns on move 2 1 , say, but the Queens­ and-Knights ending that would have resulted would favor White because of his Tarrasch Knight. However, after moving his King Black could afford . . . cd4, so White retires and thinks out something else. 24. Qe2 Qd6 25. a4 Ne8 Probably White's 25. a4 was played partly in expectation of 25 ... Nd7. Then, after 26. Nd 7 Qd727. Qa6, should Black continue passively there is a possibility of increasing the pressure by a5. And yet 25 . . . Nd 7 still looks the soundest play. 26. Qd2 Showing another purpose behind a4: to stop ... b5 so that White's Queen could leave the light squares. Nf6 26. ... 27. Qc3 To be quite candid, this stage of the game reminds us of an offhand Steinitz remark-recipe for handling a game in which neither player can do much: "You must stall and stall. Sooner or later your opponent will get an idea. It is sure to be rotten, and then you vill vin." 27. ... Ne4 ,

28. Qd3 cd4 For if 29. Rc 7f, 29. . . Rc 7 30. Rc 7f Qc7 31. Qd4 Qc3! a5 29. ed4 The position is nearly symmetrical, but not quite. White' s King stands better. A pawn still standing on f2 is a great blessing to White's King castled kingside, as it shelters him from both a lateral check and a check on his a7-g1 diagonal. Nf6 30. Kg2 Neither side wants to be the one to swap Rooks, as it would give the open file to the enemy Queen. f4? 31. Qe2 The idea! 32. gf4 White thinks he is giving Black less option this way than by exchanging the four Rooks first. As the game goes, it does come to the same thing. Nh5 32. ... Missing a trick: 32... Rc2! first. After 33. Rc2, then ...Nh5! ! White cannot then exchange Rooks because it's not check (so that he'd lose his Queen) . So White has to make a defensive move, and Black regains the pawn with an easy draw. Even these players miss the little combinations at times. 33. Rc7t Rc7 Qc7 34. Rc7t Nf6 35. Qg4 The loss of the pawn is not so ter­ rible, as White's kingside pawns are a poor show. But Black is lost because he must let both the white pieces in. Had Bronstein previously thought he could shoot his Queen into White's camp at this stage? The trouble is that he'd get mated. What a terror Bronstein will be when he learns to "stall and stall" when stall­ ing is the right policy! Nh5 36. Qe6

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CJ S P u rdy's Fine Art of An notation Vol . 1

37. 38. 39. 40.

Qd7t! Nd7 Kf3 Nb6

Qd7 Nf4t Nd3 Nb4

White to seal. The game becomes really interesting at last. Pawn up, but hard to win because one black pawn holds two white ones. Kf6 41. Kf4 42. Nd7t Ke7 Ke6 43. Ne5 Kf5 44. Ke3 45. f3 Guarding e4. 45 . ... g5 h5 46. Kd2 ! And f4 is guarded anyway, because . ..Kf4 would allow exchange of Knights, and a win by b4. 47. Nd3 Na6! If 47. . . Nc6, White could win by 48. Kc3 followed by b4. But if 48. Kc3, 48... h4 49. b4 ab4f 50. Nb4 Kf4! Black can offer his Knight because, after taking it, White's Knight would be delaying his own passed pawn for one vital move. 48. Nc5 Nb4 Na6 49. Nd3 Nc7 50. h3 Not ...g4?? because after the swaps come Ne5f and Nc6. 51. Ke3 Na6 Ke6 52. Ke2 Ke7 53. Kd2 Kd6 54. Kc3 55. b4

This wins now. 55. ab4t 56. Nb4 Nc7 57. a5 Usual routine, once you have a re­ mote passed pawn in a Knight ending. Advance it and use it to draw the oppo­ nent's pieces from the other wing. Nb5t 57. 58. Kd3 Ke6 Na7 59. Ke3 60. a6 Nb5 Nc7 61. Nc6 Kf5 62. Nb4 Ke6 63. a7 h4 64. Kf2 65. f4 gf4 66. Kf3 1-0 If 66. . . Kf5, 67. Nd5.

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Botvinnik-Bronstein (7/51) 9th Game QP (Dutch Def.)

1. d4 e6 2. c4 f5 3. g3 Nf6 4. Bg2 Be7 5. Nc3 0-0 6. d5 An eminent annotator comments: "Better than e3 as he played in the first game; but still not the best which is quite simply 6. Nf3." 6. ... Bb4! Before playing ... e5 and ... d6 Black extricates his Bishop, which these moves would shut in. e5 7. Bd2 8. e3 On the kingside White adopt s a defensive formation, so posting his men that neither . .. e4 nor . .. f4 will be to Black's advantage. Thus he limits the value of Black's pawn phalanx. Meanwhile, he plans to take the initia­ tive elsewhere.

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World Cham pi on s hi p Games

8. ... d6 9. Nge2 a6 Black prepares to break things up before White acquires a steamroller on the queenside. 10. Qc2 Qe8 1 1 . f3 Preparing for e4 in some eventu­ alities: see note to move 14. The burial of the K-Bishop is a drawback, but need not be permanent. b5! 1 1 . ... A gambit in true Bronstein vein. Accepting it will permit Black to wrest the initiative on the queenside, when White's rather cramped position on the kingside would give him an unpleasant kind ofgame -pawn up, but scant play for his pieces. Bc5 12. Qb3 Bd7 13. cb5 This was perhaps Black's intention also on move 12, had White played cb5 at once. 14. Na4!

14 . ... Ba7? The critics are right in calling this a blunder, but not in saying that Black could have gotten a "fine game" with 14 . . . ab5 15. Nc5 dc5. Two Russian an­ notators point out that "if then" 16. d6f, 16... c4 1 7. Qb4 Na6; but naturally Bot­ vinnik would avoid such weak moves, and play instead 1 6. e4 (see note to White's 11th). After that White's Q-Bishop becomes

dominant at e3, and even more so after Black's virtually forced . . . c4. In any game of chess, the point at which the first clear error occurs is the point at which it is most important to take stock. Who had the better game? The answer will have a bearing on open­ ing theory. Everything after that stage is of less importance. In this case we think White had a slight advantage at move 14, with his two Bishops and solid position. How did Bronstein come to make this blunder (14... Ba 7)? Under great stress, he seems subject to occasional nerve storms. It seems almost certain that he completely overlooked Botvinnik's next move. Ba4!?!? 15. b6! This has been given a plain doub�e­ query by some, but it is probable that Bronstein preferred a wild lost game to a tame lost game. After 15 ... cb6, etc., he would be a pawn down, with the initiative against him as well. Now he becomes a Rook down, but introduces an element of the incalculable. Well, you can laugh, but he did draw this way! 16. b7 Bb3 17. ba8 = Q Bb6 White got a Queen and Rook in one move. He's the Exchange up and must get another piece. 18. ab3 Qb5 19. Nc3 Qb3 Now comes the first of White's small sacrifices of material in order to sim­ plify the issue - excellent! The second, on move 22, is not so good. Na6 20. Ra6 21. Qa6 Nd5 White now has a piece for a pawn and has a slow, steady win on material with 22. Nd5 Qd5 23. Ke2. But all play­ ers, apparently even the world cham­ pion, have a great hankering after the

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CJS Pu rdy's Fine Art of Annotation Vol . 1

swap of Queens once they have a big material advantage. Here Botvinnik succumbs to this passion - doubt­ less largely actuated by clock trouble - even though he gives up a second pawn. The trouble is that White is not yet developed, and his piece plus won't be felt for a long time. Qa4 22. Qa4? Be3 23. Na4 24. Bf1 Ra8 Probably Botvinnik' s 24th was for the purpose of playing 25. Bc4 now; missing that after 25... Ra4 26. Bd5 t K/8 he can­ not escape further loss of material (if27. Ke2, 27. . . Bd2 28. Kd2 Rd4f). Quite in order was 25. Bb5. Botvinnik, upset by finding he has miscalculated, chooses a "safe" defensive move. 25. b3 Bd2t 26. Kd2 Kf8 27. Bd3 g6 Rb8 28. Rc1 Nb4 29. Nc3 30. Be2 Is 30. Bc4 better? After 30. . . Ra8 31. Nd5 Ra2f 32. Ke3 (Golombek), not 32. . . Nd5, but 32 . . . Nc2t 33. Kd3 Nd4 and Black's counterplay persists. The main lesson of the game is that it can be very hard to win with a piece for two pawns if the defender's pawns are safely situated. 30. Ra8 31. Na4 c6 Rb8 32. Rc4 Ke7 33. Bd1 34. Nb2 d5 35. Rh4 h5 36. g4 White is desperately trying to get his pieces into the enemy camp, which is the way to make a piece up tell. But the old rule applies: when trying to win, as a rule exchange pieces but not pawns. A better chance was 36. Nd3.

hg4 36. ... 37. fg4 f4 Black ' s s t e amroller of central pawns, or three musketeers, is now so strong that even a marauding Rook need not terrify him. 38. g5 Rf8 39. Rh7t Kd6 e4 40. Rg7 Ke5 41. Rg6t Drawn by agreement. The game· was adjourned. During the adjournment Botvinnik decided he could not win and offered a draw. He will have to give up a piece, and his own passed pawns are not quite advanced enough to secure a win after that. The most excitingvariation so far produced is 42. h4 f3 43. h5 12 44. Be2 fl = Q 45. Bf1 Rf1 46. h6 Rf2t 47. Ke1 Rb2 48. h7 Nd3t with perpetual check, since 49. Kf1 would lead to loss of White's Rook in three more moves/Ed.: 49 ... Rb1 t fol­ lowed by 50 ... Nf4t andpicking up the Rook and stopping the pawn on h 7.], and the Knight would then be stopping the h-pawn from queening. Objectively, this was a bad game. But would you want to have missed seeing it? When you see all the games of a tournament or match, instead of selected ones as usual, you get a clearer picture. You realize how much the hu­ man element comes in; you see that rough-and-tumbles occur even in the very highest circles. ,

8 Smyslov-Botvinnik ( 4/54) 1st Game French Def. (Winawer Variant) 1. e4 e6 2. d4 d5 3. Nc3 Bb4 4. e5 c5 5. a3 Ba5!

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It has always seemed strange to me that this move was so neglected, and 5 . . . Bc3f played so persistently for many years. 6. b4 This gambit continuation is prob­ ably not as good as its reputation. Comparatively uncharted yet are 6. Bd2 and 6. Qg4. 6. ... cd4 Acceptance by 6... cb4 7. Nb5 ba3f gives White full compensation after 8. c3 followed by Ba3, raking the dark squares. Bc7 7. Nb5 8. f4 Ne7 9. Nf3 Nbc6 10. Bd3 All this so far has been regarded as a variation slightly favorable to White. Inadvisable would be 10. Nfd4 Nd4 11. Nd4 because White thus gives away something, namely his hold on the Black Bishop. He wants at least to make Black lose a tempo to evade Nc7 some time. Not bad is 10. Nc7f followed by 11. Bd3, but it goes against the grain to speed up Black's development for him. Bb8! 10. ... An innovation, it seems. Black loses his tempo at once and gets it over, with a view to reintroducing the Bishop with good effect, though at some cost in tempi. 1 1. Nbd4 a6! Ba7 12. Be3 13. 0-0? The initial error that cedes the initi­ ative. It is important for White to pre­ serve a piece on d4 as long as possible, but not by c3, as 'the c-pawn will be much weaker on c3 than on c2. Nor by moving his K-Bishop, which is so nicely situated. Therefore 13. Qe2!, for Q/2. 13. Nd4 14. Bd4 Bd4

15. Nd4 Qb6 With the Queen on e2, White could now play Q/2. He could then be induced to exchange Knights, but need not make a weakening move. And he can look forward soon to straightening up his Q-side by c4. Bd7 16. Kh1 ·White is now faced with a choice of evils. If he moves the Knight, .. .Bb5 fol­ lowed by Bb5, allowing Black to play . . . ab5 and eliminating his weak pawn, but only to bite in a new place with . . . d4. White prefers to weaken his c-pawn, and we now see Black's struggle to preserve the weakness. 17. c3 Rc8 h6 18. Qe1 Not 18... 0-0? 19. Bh7t, etc. a5! 19. a4! Forced, else a5 followed by estab­ lishment of a White Knight on c5 via b3. 20. Nb3 Qc7 And if 21. Na5, 21 ... b6 followed by . . . Qc3 forces the Knight back to c1 with a fairly sticky game. 21. Nc5 Bc6 22. Qf2! A suggestion was 22. f5, but after 22... b6 23. Nb3 ef5 24. Bf5 Nf5 25. Rf5 Bd7 26. Rf3 0-0 White has at least five weak points (a4, b4, c3, c4, e5) to Black's three (d5, b6, a5), and White has both Rooks tied to weak pawns. 22. 0-0 Bd7 23. Nb3 24. Qc5 The suggested 24. Rfcl, threatening both Na5 and c4, is answered by 24. . . f6! I f 25. c4, 25... fe5 26. cd5 Qd6 with advantage. The ending now is only very slightly to White's advantage. Qc5 24. 25. Nc5 Rc7 Rd7 26. Nd7

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27. ba5

Ra8

28. a6? This plau s ible move has been passed over unnoticed in the commen­ taries we have seen so far, in Russian and English, yet it seems to me the cause of White's defeat. If there was a draw to be obtained after this, it was at least difficult. The move loses an important tempo. Immediately 28. e4! was right. For it is clear that Black can­ not allow White's pawn on a5 to remain uncaptured, and if he takes with the Knight (via c6) , his Knight gets out of play and loses time, and thoughts of a win are impossible; therefore the Rook, and best at once. If later, the Rook will be shut out for some time at a5 when the Bishop goes to b5. So, 28. c4! Ra5! 29. ed5 Rad5 30. Bb5 Rd8 (must keep the file) 31. Kgl, and White can answer .. .Rd2 with Rf2. Meanwhile, he threat­ ens counterplay by Rafl. White should draw. 28. ba6 dc4 29. c4 Rd4 30. Bc4 White has at last eliminated his weak c-pawn but must now give ground, or else a pawn. For if31. Racl, 31 ... Re8! 32. Ba6 Rel 33. Rel Rf4 and Black will also win the e-pawn, and still be able to halt the White passed pawn. True, it can probably get to a6 and give White good drawing chances. Nd5 31. Be2

32. g3 Nc3 33. Bf3 Rb8 White had only ten minutes for his next seven moves; Botvinnik had twenty. If now 34. a5, 34. . . Rb2 threat­ ens trouble. 34. Ra3 ! Nb1 ! Declining the pawn offer, for after­ wards it would be exceedingly hard to advance the Black a-pawn, or even to hold it. 35. Ra2 Nd2 36. Rf2 Nc4! This Knight is like a flea. Black now threatens ...g5, weakening either White's e-pawn or f-pawn. The best chance seems 37. Be2, with a view to swap. 37. h4 g5 White now had a minute for three moves. hg5 38. hg5 39. fg5 Still Be2, but a bit late now. Ne5 39. ... 40. Be2 Rb1t Smyslov now sealed. Black should win, as his pieces are better posted and he has a passed pawn, while White has three weak pawns - two doubled. But great skill is needed . 41. Kg2 a5 42. Rc2 Rb3! If 42... Ra4, 43. Rc5 drives the Knight away from the defense of f7 and g6, al­ lowing excellent counterplay. Now, if 43. Rc5 Nd3 44. Bd3 (virtually forced) Rdd3 45. Ra5 Rg3f, then Black drives the King to f1 and swaps Rooks, after which the g-pawn must fall, leav­ ing a winning Rook ending. 43. Rf4 Rd5 44. Re4 To play Bh5 without . . .Rdd3. 44. Kg7 45. Bh5 Ng6

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World Cha m pionship Ga mes

Re3 46. Rg4 47. Bg6 Kg6 Rf5! 48. Rf2 ef5 49. Rf5 Re4 50. Rc4 Ra4 51. Rc7 Ra3 52. Ra7 53. Kh3 If, say, 53. Kf2, 53... a4 54. Kg2 Kg5! 55. RnRb3 56. Ra7 a3 followed by King around to queenside while the white King must guard his last pawn. f4 53. 54. Kh4 fg3 55. Ra6t Kf5 56. Rf6t Ke4 57'. Kh3 If 5 7. Rf7, 5 7. . . g2 with a routine win. 57. Rf3 Rf5 58. Ra6 59. 0-1 Already a more accurately handled game by both sides than most of the games in the Bronstein Match of 1951.

9 Smyslov-Botvinnik (5/54) 1 1th Game . Ruy Lopez (Morphy Def.) 1. e4 e5 2. Nf3 Nc6 3. Bb5 a6 4. Ba4 Nf6 5. 0-0 d6 A sort of Steinitz Defense Deferred. 6. Bc6t Also enough for a slight edge is 6. d4 b5 7. de5, after which Black has at any rate a slightly weakened queenside (7... de5 8. Qd8f Nd8 9. Bb3). 6. bc6 7. d4 ed4

8. Nd4 c5 9. Nf3 A choice based on the idea of break­ ing up Black's pawns by e5. 9. ... Be7 10. Nc3 The immediate 10. e5 may prove a shade stronger. 10. 0-0 1 1. Re1 Bb7 h6 12. Bg5 13. Bh4 Re8 14. e5 de5 15. Re5 Qd1t 16. Rd1 Bd6 Ne8 17. Re8t If . .Re8, even the two Bishops don't reconcile him to having to play with six ( ! ) isolated pawns, with two pairs doubled. 18. Nd2 Be5 Angling for Bishops on opposite colors, and also giving White a doubled pawn to balance Black's own. Bc3 19. Nb3 c4 20. bc3 21. Nc5 Bc6 22. Rd8! This gives slightly better winning chances than Rd4, as Black could give up one pawn and (after . . . a5) get counterplay with his own Rook by ...Rb8. White's pawn plus would be arithmetical only. 22. g5 Ba8 23. Ra8 24. Bg3 a5 25. f3 f5 26. Be5 Kf7 White's pieces are better-posted, and Black has the weakest pawns; but Black's chances of drawing are better than this sounds, because a Knight exchange will produce Bishops on op­ posite colors. 27. f4!

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Else his King can be temporarily shut out by ... f4, necessitating drawish exchanges of pawns. Nd6 27. Ne8 28. Na6 Be4 29. Kf2 Kg6 30. g'J It's a King race now, and 30. . . Bc2 would delay Black's King. Kh5 31. Ke3 Kg4 32. Kd4 Kh3 33. Kc4 34. fg5 hg5 Now, unfortunately for White, 35. Kb5 is well enough met by . . Nd6f, as 36. Ka5?? loses by a fork. And if 36. Kc5, 36... Nb 7t proceeds with the merry-go-round. Nc7 35. Nc7 36. Bc7 Kh2 37. Kb5

the pin . . Bd3. Kg4 38. c4! 39. c5 f4 gf4 40. gf4 White's King has not had to lose a move capturing the a-pawn. 1-0 41. Ba5 Black actually sealed 41 ... Kf5 and resigned later. After 42. c6 Ke6 43. Kb6 Black gets no time to take the rear pawn. The a-pawn marches up. White should not play c 7 prematurely, as the pawn on c6 shelters the a-pawn's queening square. .

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10 Botvinnik-Smyslov (7/54) 18th Game QP (King's Indian Def.) 1. d4 Nf6 2. c4 g6 3. g3 Bg7 4. Bg2 0-0 5. Nc3 d6 6. e3 Nbd7 7. Nge2 a6 Omission of .. .Re8 is undoubtedly an improvement on the 16th game. That move is not wanted yet. 8. b3 Rb8 9. a4 This outright prevention of . . b5 must be regarded as a purely practical scheme for avoiding prepared analysis, rather than a logical contribution to chess theory. It enables White to play Ba3 safely; but if White permitted ... b5, as well he might, there would be no need for Ba3 because the Steinitz formation with ... c6would then be ruled out, at least for some time. Try simply 9. 0-0, and if either . . . b5 or .. e5, then 10. f4, the natural move for gaining space in such positions (with f5 as one possibility). 9. e5 10. Ba3 b6 Bb7 1 1 . 0-0 .

Kh3? 37. ... Bondarevsky; in the Russian bulletin of the match, points out a drawing line, depending on a very pretty point: 37. . . Bc2 38. Ka5 (if c4, . . .Bd3) Kh3 39. c4 Kg4 40. c5 f4 41. gf4 gf4 42. c6 (what else?) Be4 43. Kb5 Bd3f! Then if the white King goes to b6 or c5, Black's pawn queens; and if else­ where, the Bishop returns to attack the pawn. In this, if 42. Be5, 42... Kf5! 43. Bd4 Ke4 and the black King edges back in time to draw. Now White is able to win, because his c-pawn can march unimpeded by

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t2. d5 This doesn't chime with e3. But White has started drifting with a4 and has ceased to have any pretensions to an advantage in any case. t2. ... a5 To establish his Q-Knight. Now indeed is the futility of White's a4 manifest. He lacks the normal possibility of driving the Knight from c5 by a3 and b4. Nc5 t3. e4 h5 t4. Qc2

After 1 4. Qc2.

The obvious aim is to go for . . f5 (see diagram), and the obvious plan for achieving it is 14 . . . Nfd7; but after f4 by White and exchange of the white f-pawn for the black e-pawn, Black's f-pawn is then weak, and Black's Q-Bishop has no part. Therefore, try 14. . . Bc8 and 15 . . . Ne8 instead (leaving room for . .Bd7 if ever a white Knight occupied d4, threatening both c6 and e6). In this way I think Black could have obtained some advantage. As it is, White has the initia­ tive from now on. It should not be: all experience suggests that the formation is favorable to Black, with his Q-Knight so strong, and we must conclude that Smyslov's strategy here is wrong. The normal reaction to d5 in an­ swer to .. e5 is . c5, especially with the Rook still on the f-file. t5. Raet h4 t6. Bet Bc8 .

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Bd7 t7. Nb5 t8. Bg5 h3 Bb5! t9. Bht 20. cb5 If ab5?, ...Ra8, and the possibility of .. a4, though it might never be played, is a sword. of Damocles. 20. ... Qd7 21. Bf6 Bf6 Both players illustrate the truth that Bishops don't count for much when there are 16 pawns. Bg7 22. Net f5 23. Nd3 At last ! But what has Black really gained in return for two moves lost with the h-pawn? dc5 24. Nc5 Must not isolate the a-pawn. 25. Bf3 Qd6 f4 26. g4 Black is reduced to aiming at a gen­ eral block to avoid serious trouble from White's Bishop. Kf7! 27. g5 The only play. He must take the h-file. 28. Kht Ke7 29. Rgt Rh8 30. Rdt Rh4 31. Rd3 Qd7 32. Qe2 Rbh8 33. Bg4 Qd6 34. Qf1 Bf8 For a counterattack on Whit e ' s g-pawn. White could already take the h-pawn, but he wants to avoid counter­ play on the h-file and also .. . c4 followed by an invasion of the black Queen. 35. Rf3 Kd8 36. Qd3 Be7 37. Be6 R8h5 38. Rh3 Rh3 39. Bh3 c4! 40. bc4 Qa3 Ba3 4t. Qa3

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42. Bf5! If 42. Bg4, 42... Rh8 (of course not . Rg5, when the Rook is trapped) fol­ lowed by . Ke7-Kd6-Kc5 with an easy draw, despite the temporary deficit of two pawns. gf5 42. .. 43. g6? Better 43. ef5 Ke8 44. f3! (Szabo - restraining . e4) Bf8 45. Rg4, fol­ lowed by h4 and marching the King to e4 with excellent winning chances. Bf8 43. Bg7 44. ef5 Bf6 45. f6 Bg7 46. g7 f3! 47. Rg7 And now it i s White who must struggle to draw, though a pawn up. Black threatens .Rh4. Rh3 48. Rg4 Rh4 49. Rg3 Rc4 50. Rf3 Kd7 51. Ra3 Kd6 52. Kg2 Kd5 53. Kg3 54. h3 ! If h4, Black's King works 'round till finally the h-pawn is lost, White's Rook being paralyzed. Ke6 54. 55. Kf3 Kf5 56. Kg3 Kg5 57. Kf3 Rf4t 58. Kg3 Drawn. .

next move breaks new ground. 9. Ba3 h5! !?

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11 Botvinnik-Smyslov (8/54) 20th Game QP (King's Indian Def.) 1. d4 Nf6 2. c4 g6 3. g3 Bg7 4. Bg2 0-0 5. Nc3 d6 6. e3 Nbd7 7. Nge2 e5 8. b3 Re8 Reverting to the 16th game, but his

The sign ! ? imputes unsoundness without doubt, and I use ! !? to convey rather a state of sheer doubt as to whether a move is sound or unsound. Paradoxical - that's certain. The K-side castler advances his h-pawn against a non-castler. Resolving the paradox - clearly White cannot cas­ tle on the exposed queenside, but the position is quite unsuitable for placing the King on e2 or f2; therefore, White cannot satisfactorily develop without kingside castling, so . . . h5 will either prevent satisfactory development or become a spearhead (immediate threat is . . h4 and then leaving the good old sword of Damocles over White's head). As to the possibility of Black's own kingside becoming weak, that can only happen if White gets his Q-Bishop back to its original diagonal and plays e4, using up tempi and changing his whole layout; and Black can use the time to strengthen himself on the dark squares. 10. h3 First necessity: to be ready to meet .. . h4 with g4, closing up. a6 10. ... Reverting to his old plan ( . . . Rb8 and . . . b5), but with the kingside setup changed so that he has the chance of playing on either wing or both wings. Clearly; some out-of-the-way strategy

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World Championship Games

is called for with two down and only five to play. de5 1 1 . de5 Having advanced on a wing, he must hold the center, so .. .Ne5 would be bad. This explains why . f5 had to be pre­ ceded by ...Re8. 12. e4 White proceeds with the plan I men­ tioned; it is not only slow; but it obstructs the K-Bishop and weakens d4 and also f4 should White answer . . . h4 with g4 as planned on move 10. His Q-Bishop bears on important squares where it is. He could simply have castled and got his Q-Rook on d1 (per Qc2), starting to worry Black about where to put his Queen. Against this plan, Black might attempt such a sequence as . .Nh7, .. .f5, ... c6, and finally . . Qf6, having by then stopped White's Q-Knight from hitting the Queen. The respective chances are hard to estimate, but Black seems to retain the initiative (it often happens that control of an open file yields disap­ pointing results where the opponent has three or four minor pieces, especially the two Bishops, since these protect the business end of the file). All in all, it seems Botvinnik may have chosen the least evil. I am inclined to go back to White's 11. de5, and suggest it was premature: while Black had a pawn on d6, he could not play . . c6, which is important in some variations. 12. Nh7! h4 13. 0-0 c6 14. Bet Defensive (against Nd5) and offensive (... b5). hg3 15. Be3 16. fg3 Qe7 b5 17. Qd2 See how White's e4 discouraged Black's kingside play but left him freer

for queenside play, with the K-Bishop obstructed, e.g., he could omit . .Rb8. 18. Rad1? White's position has started to get difficult, and here he gives Black a ch�nce to force a real advantage. He could get a very drawish game with 18. cb5 ab5 (if . cb5, Nd5) 19. a4. If 19 . b4, 20. Ndl for Nb2 and (after Rel) Nc4. bc4! 18. 19. bc4 Qb4! Bf8 20. Rc1 Not . . Qc4? 21. Nd5. 21. Kh2 Nc5 22. Nb1 a5 Be6 23. Qc2 24. Rfd1 Reb8 If ...Rab8, 25. Bd2. a4 25. Bf1 26. Bd2 Qb6! If . . Qb2, 27. Bc3. 27. Be3 a3 Qa5 28. Nec3 29. Qf2 Be7 Nf6 30. Rc2 31. Nd2 Rb2 Rd8 32. Rdc1 33. Bc5 .

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Qc5? 33. ... Missing a forced win with 33... Bc5, threatening . . . Qc3!!, besides the obvious ...Bf2. 80 34. Qf6Rd2f 35. Rd2Rd2f 36. Khl Rf2 37. Qe5 (if Qg5?, ...Rfl f) Rh2t 38. Kh2 Bglf and although White has Rook, Knight, and pawn for Queen, his position is too weak to hold. I

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CJS Purdy's Fine Art of Annotation Vol . 1

34. Qe2 Qb4 Rc2 35. Nb3 Ne8? 36. Rc2 Time pressure? This gets him to c5 in four moves, while . ..Nd7 would do it in two. Nd6 37. Nb1 Nb7 38. N1d2 Nc5 39. h4 Qc5 40. Nc5

54. Rf2 To meet . . .Rd3 or . .Rdl with a chal­ lenge at f3 or f1. 54. ... Kf7 55. Rf1 Be7 Till move 60, Smyslov spars for time. Ke6 56. Rf3 57. Rf1 Bb4 Ke7 58. Rf3 Kf7 59. Rf1 Kg6 60. Rf3 61. Rf2 Rd6 Threatening .. .Kg5-Kg4. Bd2 62. Rf5 Bg5 63. Rf3 Now ready for . .Kh5-Kg4. 64. c5 Rd7 f5 65. Rc3 66. Kf3 Kf6 67. ef5 Or 67. Na5 Rd4 68. ef5 Kf5 69. Nc6 e4t and . . Rd2f, and should win. 67. ... Kf5 Ke6 68. g4t 69. Ke2 If 69. Na5, 69. . . Rd2 70. Nc6 Kd5 71. Nb4f Kd4 72. Ra3 e4f and Black gets home. 69. ... e4 Ke5 70. Rc4 .

White sealed here. It is said the gen­ eral expectation was of a draw. Why? Not only has Black the two Bishops and control of b2 with his outpost pawn, but White's c-pawn is isolated and under pressure, while Black's c-pawn cannot be assailed. Also, White's second rank is completely exposed, and his King therefore weak. If Smyslov could not win this after adjournment analysis, he would not be a grandmaster. 41. Nb3 Qd6 Inviting the Bishop swap, 42. Bh3 Bh3 43. Kh3, and then . . . Qd 7f and . . .Bb4 with a position like the one he gets later on. 42. Rd2 Qb4 43. Rc2 f6! Now the swap is off. Bf7 44. Bh3 45. Bg4 Kg7 46. Kg2 Not yet h5 (...Rh8). 46. ... Qd6 Threatening . . . Qd3. 47. Rd2 Qb8

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World Cham pionshi p Games

71. Ra4 Rh7 72. Ra3 Rh2t 73. 0-1 If 73. Kdl, 73. . . e3 74. Ncl Rhlt 75. Kc2 Rel t 76. Kcl e2t. A great struggle.

12 Botvinnik-Smyslov (2/57) 1st Game, Second Match English Opening 1. c4 Nf6 2. Nc3 g6 3. g3 Bg7 4. Bg2 0-0 Showing that he is prepared to play a straight King's Indian (5. d4 d6). 5. e4 This cannot in itself be a bad move, but the strategical plan Botvinnik has in mind fails lamentably. 5. ... c5 6. Nge2 Here, though it was right outside of Botvinnik's plan, 6. d4 would be satis­ factory, giving White a Maroczy Bind (Sicilian Defense) position, which could not be unfavorable to White, e.g., 6. d4 cd4 7. Qd4 Nc6 8. Qd2 and afterwards Nge2 followed by 0-0 and b3 with a double fianchetto. Nc6 6. ... And now 7. d4 would be met by 7... cd4 8. Nd4 Ne4! A routine trap. d6 7. 0-0 8. aa This foreshadows an early attempt at b4. What Botvinnik had evidently not foreseen was the simple but beautifully effective Knight maneuver that follows. 8. ... Bd7 9. h3 He doesn't care to permit ... Qc8 and . .Bh3. But he can't have everything. Probably better to proceed with Rbl (for b4) and answer . . . Qc8 with Rel .

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(for Bhl if . . .Bh3). Of course if 9 .. Qc8 now, 10. Kh2. Ne8! 9. . . Nc7! 10. d3 Black will now get in . . b5 first, and take the initiative. Rb8 11. Rb1 12. Be3 True, White could play 12. b4, but after 12... cb4 13. ab4 b5! the game is Black's way because White's b-pawn is weak. The difference lies in Black's strategically well-placed Knight at c7. "What's all this b4 racket?" some players may ask. The fact is that in recent years attention has been drawn to this maneuver for gaining space. The King's safety is not involved, as with f4, for example. b5 12. ... White has been outplayed in the opening, and can only aim at mini­ mizing his disadvantage. It is a con­ soling thought that a world champion can get a losing game as White in about nine moves. Of course it's only through over-finessing. Be warned. 13. cb5 Nb5 14. Nb5 Rb5 15. d4 Qc8! dc5! 16. dc5 Rd8 17. Kh2 Nd4 18. Qc1 White must choose between giving Black a strong passed pawn or a Tar­ rasch Knight. 19. Nc3 Rb7 20. f4 A common dilemma! If this is played, White risks the exposure of his King. If it isn't, he must resort to a rather inactive game in which the play is in the center and on the queenside where Black stands better. No improvement is 20. e5 Bc6, as that involves f4 soon anyway.

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CJS Pu rdy's Fine Art of An notation Vol . 1

Bc6 20. ... Not . . .Be6, as he wants to be able to answer Nd5 with . . . e6. 21. Rf2 a5 Nb5! 22. Qf1 Smartly bartering his Tarrasch Knight because a) he can strike a slightly favorable bargain, and b) he forestalls e5 and Ne4 23. e5 If 23. Nb5?, 23 . Bb5 followed by .Bd3. If 23. Bc5?, White wins a pawn but loses two (23. . . Nc3 and 24 . . . Be4). Nc3 23. ... Bg2 24. bc3 Nemesis is afoot. That exposed King is going to tell. See note to 20. f4. Rb1 25. Rg2 26. Qb1 Qc6 Collaring key squares. Rd2 27. Rd2 Black doesn't evade Rook swaps. Leave him a Queen and Bishop, and he'll still lay White's King by the heels. c4! 28. Bd2 29. Be3 Nothingin Qb8f, for iff5 afterwards, . . .gf5 and Black's Queen holds h6. 29. f6 30. Bd4 Kf7 a4! 31. Qd1 Qd5 32. Qe2 Bf8! 33. Kg1 .

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