Play Like a Grandmaster [Hardcover ed.] 0713418060, 9780713418064

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Play�ikea Grandmaster Alexander Kotov

The Club Player's Library

Play Like A Grandmaster ALEXANDER KOTOV Translated by. Bernard Cafferty

B T Batsford Ltd, London

Symbols +

!! ? ?? w

B

Check Good move Super move Doubtful move Blunder White to move Black to move

First published 1978

©Alexander Kotov , 1978

ISBN 0 7134 1806 0 (cased) 0 7134 1807 9 (limp) Films exchange follows. 34 .§.I xc6!

..llxc6

35 .§.xf7+

h6

36 f4!

This forct>s win of.tht> qut>f'n or mate. 36

�xe3+

37 h2

�xe S

38 fe l-0. If we examine our earlier schematic diagram, we will see that the outline course of this game is shown in No.4. \Vhy have we made such a distinction? We wish to illustrate the nature of a grandmaster's thinking process during a game, and how the rhy thm of this thinking changes in accordance with the nature of tht> position which lies in front of him. So we have established one of the major features that guides a grandmaster. lf"he faces a combinative-tactical position, he deals with it by working out variations, using grneral considerations only at certain rare moments. In manoeuvring-strategical positions ht> restricts himsdfto general considt>rations, t hough here too ht> has recours!:' at times to short analysis of variations. Finally he has the flexibility to change from one approach to another as appropriate. Now what do general considerations consist ol? \Yc now devote a great deal of attention to this vital question which lirs at the bottom of all positional play.

The Basic Postulates of Positional Play The lt>vd of development of positional sense dept>nds on many factors. Most of all it is shown in the ability of a player by dint ofnatuio.�l ability to determine swiftly, at one swoop, the main rharacterisi ics of a position. Chess history knows many examples of t he ability to sniff out the essenre of a position without tht> player having to trouble himsrlf with wearisome analytical effort. Such cases rewal a real natural gift. Yet the main thing that dcn·Iops positional judgement, that perfi:cts it and makes it many-sided, is detailed analytical work. st>nsiblc tournament practice, a self-critical attitude to your gamcs an a rooting out of all the dcft>ct� in your play . This is the only way to learn to analysc chess positions and to asst>ss them properly. Mastery only comes after you ha\T a wide ex-

22

Positional Judgement

pcricnce of studying a mass of chess positions, when all the laws and de\ices employed by the grandmasters have become your favoured weapons too. Positional sense is like the thread that leads you through the labyrinth in your tense struggle at the board from the first opening move to the final stroke in the endgame. When people come to say about you that you have a good positional sense, you will be able to consider yourself a well-rounded and promising player. We shall now try to state in a systematic way all the postulates and rules of middlegame play that have been worked out by theoreticians over the . long history of chess. They might appear elementary to the discriminating reader. \Vhy bother to repeat what has long been known? Believe me, for all my long practical experience of play and writing, I have found it far from easy to reduce to a common denominator all that has been expressed so far in chess history. Moreover what is elementary? When I pose this question 1 call to minci Mikhail Tal. The ex-world champion has often commented that he regularly watches t he chess lessons on TV meant for lower rated players. His idea is that the repetition of the clements can never do any harm, but rather polishes up the grandmastt·r's thoughts. For grf'ater clarity we shall try to express the concepts of middlegame theory in short exactly lormulatcd points. 1. In chess o11(l• !he al/ackrr u:iln.

Of course

there are cases where it is the defender who has the point marked up for him in the tournament table, but this is only when his opponent exceeds the time limit or makes a bad mistake-overlooks mate, or loses a lot of material. Moreowr, ifone follows strict logic, e\Tn after this loss of material the game could be played out to mate and in this case the final victory goes to the lormer defender who in the later stages, after his opponent's mistake, is translormed into the attacker. The qut•stion then arises, which of th e two players has the right to attack. Before tht· time of the first world champion Wilhelm Steinitz, who is the creator of modern cht•ss theory , it was held that the more talented player attacked. Stcinitz put it quite dilkrently. The talt·nt and playing strength of a chess playt·r was a secondary consideration.

2.

Tlu· ri,!!,ltl /o a/lark i.1· t'll_jt!J'('(II�J' /!tal

fJifl_}'l'l" u:lw

Ita.\' !he bt•lla

fmJilion.

I r your

posi tion is inlc.'rior. ('Yl'n though you ar(' a genius, you do better not to think of attacking. since sud1 an attempt can on ly worsen your posit i on . 3. Tltt• Iidt• l('ilh lht• adl'rmlage haJ no/ on(r llu• righl bul also lht• tlu(J' lo a//Mk. olhmci.H• he nms llrt· ri.1k t!/ losing his ndmnla,!!,t'. This

is

another postulate of Steinitz, and

prartire

knows \Try many

The Basic Postulates of Posilional Play

23

examples confirming it. How often has temporising, missing the appropriate moment to press, losing a few tempi, led to the loss of advantage, often of great advantage? Attack is the effective means in chess, it is the way to victory. Where does this leave the defender? Here too Steinitz has wise advice to give. 4. The defender must he prepared to defend, and to make concessions.

That means that the defender must try to repulse the attacker's blows, anticipate his intentions. Later theoreticians have added the rider to Steinitz that the defender must not leave out of his calculations the possibility ofa counter strike, the chance to go over to counter-attack at the appropriate time. Defence thus means subjecting yourself for a time to the will of your opponent. From that comes the well-known fact that it is a lot harder to defend than to attack. Then the question arises, what means of attack are at the disposal of a player, and what should be chosen as the object of attack? 5. The means of attack in chess are twofold, combinative and strategical.

As we have seen, attacks may develop with or without immediate contact between the forces. Which method is appropriate? The answer is best indicated by the nature of the position you arc dealing with. Often it depends on the nature of the opening you have chosen, on the style of the players, but the decisive say lies with the position. No temperament no matter how passionate can produce an 'explosion' in a stabilized position, and attempts to do this can only rebound upon the instigator. Finally the question ariscs, when· should the attack be made, and the answer is clear: 6. The attack must be directed al lhe opponenl's u•rakest spol.

This almost goes without saying. Who would be foolish enough to attack a posi tio n at its strongest poin t? 'Why attack a lion when there is a lamb in the fidd?' The grandmaster seeks to direct his attack against the weakest, most smsitive, spot in the enemy fortifications. So we see how many diff i cu lt proble ms pose themsrlves to the gra ndmast er in the middleganw. Should he attack or defend? To answer this he has to es tab l ish whether he or the opponent has the ad\·d2 �f2+ After 24 . . . .ilxb2 25 \t>e2 and 26 §.d I Black would merely be a pawn up, whereas now he decides matters more quickly. �fl+ 25 \t>d3 26 �e2 Or 26 \t>d2 Ax b2 26 -¥.Yxl4 �e5 27 �f3 and Black soon won.

The Elements in Practice

35

Open Ranks

The importance of ranks is usually smaller than that of files and diagonals. Yct occasionally it is a rank which turns out to be the highway along which decisive manoeuvres are carried out. 13 w

Karpov-Hort, Moscow, 1 9 7 1 Not only a superficial analysis but even a very attentive study o f the position of diagram 1 3 might find i t hard to spot the decisive posi tional clement which guarantees the advantage for White. The poi nt is that here White can make good use of the ranks. 22 .§g4! 23 h4! 24 .§b4 25 h5 26 .§f4 These rook manoeuvres along the fourth rank make a strong impression and show what a depth of assessment the young world champion of our days is capable of. The simple, clear moves of the rook provoke a lack uf harmony in the opponent's game and create a number of unpleasant thrl'ats. 26 . . .

�c5

27 §13! This and the next li:w moves show that the main factor now is the third rank. {)xd5 27 . . . § x h6 28 §d3 28 . .. {)c7 29 Al4 with great ad vantage is no improvement. �e4 29 § xd5 30 §d3 �h i + 3 1 �c2 �)>(a 1 32 �xh6 Ac5.33 i#"g5 1 -0

36

Positional Judgement

Passed Pawns

A p assed pawn is one of the most important factors in the endgame, while its role in the middlegame can also be very significant. The presence of such a pawn can be the factor le ading us to assess the position as favourable to its possessor, some times even as of decisive advantage. 14 w

Smyslov-Kercs, Zurich, 1 953 In diagram 1 4, White's advantage is undeniable, principally because of his lead in development. Almost all his pieces arc in play while the enemy king is stuck in the centre. To exploit this there came: 1 4 d5! The pawn cannot be taken and there is a threat of 1 5 de. This leaves Black with only one way or trying to hang on. 14 e5 0--0 1 5 be 1 6 {)d2 fj_c7 1 7 {)c4 a5 {)xc5 1 8 {)xc5 19 �xc5 -'tffi 20 �g3 White has got a threatening passed pawn in the centre, moreover it is ari extra one. Smyslov advances the pawn as far as possible, not so much hoping to queen it as to induce panic in the enemy �:amp. 20 c4 2 1 jta4 �e7 22 -'l,f4! All to support the passed pawn. If Black decides to win a pawn back by 22 . . . �a3 then 23 Ac6 Axc6 24 de i!i'xc3 25 �xc3 ,ilxc3 26 §.ac l and 27 §. xc4 with decisive advan tage .

The Elemmts in Practice

37

22 . . . .§fllow Botvinnik's exam ple and lound it hard since I am not that sort of character. However when I managed it my results grea tly i m proved . Of course there is the complication that 'my time is controlled by me, whereas I have no control over how long or short a time the opponent thinks with his clock running . Thus it may be that general considerations may have to be thought about d uri ng m y ti me , especially if you are up against a quick player. Nevertheless try and follow the rule given above. Go through detailed variations in your own time, think in a general way about the position in the opponent's time and you will soon find that you get into time trouble less often, that your games have more content to them, and that their general standard rises. ,

'

'

'

How to Train In striving to train, to improve in positional ju dgemen t you should bear in mind the two sides of it:- training at home, and training during an actual competition game. As regards the former, you have to analyse many games and positions and try to divide them into types according tu the d ifferen t clements mentioned in our 'Mcndcleyev' table. You should be aiming for a thorough understanding of each clement and its link with the others. It would be useful if t h e resul ts of this home training were written down in special notebooks, with each clement being allotted an appropriate amount of space. I n st udying the interaction of the. clements, there arc few better ways than going through notes to games by theoreticians who do not give just a list of variations, but provide a systematic explanation of the ideas of each game and how t hey arc linked with the concrete variations. The author can recommend a few books of this sort, notably the three volume collection of Botvinnik's games and Bronstein's book 'The I nternational Grandmast x b6 1t'f3 55 a5 �x f4 56 a6 lt>e3 57 a 7 f4 58 a8 i!f f3 59 i!fe8+ 1 -Q Here is a game where an advantage achieved in the opening was exploiled by a plan for the whole game, with the help of mistakes by the opponent. d5 4jf3 2 e3 4jffi 3 b3 -'lg-4 4 �e2 4jbd7 ,£txfJ 5 .il,b2 Such an exchange of bishop for knight is made only in exceptional '

=

Multi-Stage Plans

97

circumstances when there are strong arguments in favour. In this case it just gives White the advantage. 6 Jixf3 e5 c6 7 d3 8 l£jd2 .,lld6 9 0-0 �e7 1 0 a4 0-0 With the opening over and pieces developed, the stage has come for planning. Each side will try to clarify the pawn position in the centre in a way favourable to himself. I I g3 E!,ad8 1 2 ltg2 .§feB 1 3 i!fe2 i!re6 14 e4! l£jf8 1 5 .§fd I l£jg6 1 6 .lfjfl -'1,c5 1 7 �e3 Jixe3 d4? 18 i!f x e3 A bad positional mistake. Black loses the chance of doing anything active, while White has clear prospects of opening the K-side and build­ ing this up into a powerful attack. He had to maintain the tension in the centre. '£}g8 (6 . . . .§ xe7? 7 �h8 mate) 7 'i!f xf7+ 'i!;>h8 8 c8 �+ and Black soon resigned. =

The Basic Themes Drawing out the King Here sacrifices are used to winkle the king out from his comfortable quarters to the centre, or even into the enemy camp, where he duly perishes ( 132) .

137

133 w

132 1--V

Bakulin-Sokolov, USSR, 1 973

Melikov-Shakhnazarov, USSR, 1 974 1 i!txg8+ ! �xg8 2 .tlffi+ �xffi 3 �x e6+ �h7 4 g8 = i!t+ �xh65 .il£5 �7 6 'i'th7+ �g5 7 'i'tg6+ �4 8 'i'tg4+ �e3 9 'i'te2+ �d4 (after 9 . . . �4 the king is driven back to be mated on h6-l 0 h3 .§ xb3 1 5 �g5 .§ xg3+ ! 0-1 =

The Bad Position of Pieces Various defects in piece placing can be exploited by combinations. The Double Attack The double attack or fork is learned by the beginner quite early on. It is based on some geometrical motif linking certain pieces which lets them be attacked simultaneously so that at least one of them must fall. Such combinations are very common, since the fork can be carried out by every unit from pawn to king ( 138) . I c5+ ! Forking king and bishop. If 1 . . . b4 3 .il,b6 and mates, or 2 . . . lt>c4 3 a3!

threatening 4 b3 or 4 .ilfl mate. I Axc5 2 4ja4+ d2 .£Jb3+ and taking the queen leaves Black two piece� up.

I .£Jf?+ �g8 2 .£Jd6+ ..gye6 At first sight Black has coped. lf3 i!§'xe6 .§ xe6 4 .£Jxc8 f!e8 re­ covering the knight at the cost of just a pawn. However the queen is over­ loaded, guarding the rook and screening off the a2 /g8 diagonal. 3 f!e l ! 'l!Yxd5 4 f! x eS mate. Further cases of overloading will be seen in the exercises at the end of Part Two.

The Miud of a GrandDiaster

Now we have to deal with the diffi cult process of the origin and realization of combinations. To this end we must work through, step by

' step, the thought processes of the player who discovers and carries out a combination at the board. Certain dramatists allege that

144

Combinational Vision

the idea for an episode or a whole scene in their plays strikes them as a sudden flash of inspiration which can come to them in the most unexpected places, at the most unexpected time. Something similar can happen to a grandmaster at the board, but it is not an accident, it has been prepared by the play leading up to that particular position. Even many moves before the actual combination arises he may have had a feeling, or even the certainty that a combination is latent. This thought is suggested by certain motifs in the position. For example if he sees a weakened long black diagonal, he will feel that it would be nice to find a way of exploiting this. Or if the opponent fails to make a bolt hole for his king, there will arise the desire to achieve a back rank mate. One might say that the appear­ ance of combinative motifs in a position provokes an urge in the player to seek a forcing line, a mood to play combinatively. The mood may change if the position becomes simplified, but in tense situations this mood is present to the maxi­ mum extent. I n the majority of cases his search for combinations, even in sharp positions, is not crowned with success-the position turns out not to be 'ripe' for such a solution, but suddenly, in the appropriate circumstances, the player is rewarded for his unremit-

ting effort by the 'explosion' of a brilliant combination. Using the terms we have pre­ viously defined, we might say that by going through the motifs of a given position we choose a corres­ ponding thematic position for them. Or, on the other hand, knowing that a certain theme is possible, say back row mate, we seek the appropriate means, the measures required to reach the desired goal. Through Means to the Theme

I n many cases, probably the majority of them, a combination arises in the mind in the process of going through various plausible lines of play. When we start the calculations, we do not know the sort of thematic position we are aiming for; it arises in our mind after careful study of the available motifs followed by exammmg various ways of playing, one of which becomes the means of our combination. Let us imagine White's train of thought in diagram 1 50. We work on the assumption that he has come fresh to the position and so has to work it all out from the start, though in actual fact he has been sitting at the board for about three hours and his mind is already filled with the possibilities before him. He would be working it out along these lines:-What do I hav�? His king is badly plac�d, but I still have

The Mind of a Grandmaster !50 w

to exploit that. I have the d and f files, a strong knight at d4. Must hurry before he can slip away with the king to safety at b8. His last move was rook to e4 attacking the knight. Defend it by �£2? He'll go .§.d8. No, then I go �ffi+ winning. So he'll go �g5 or �e5 centraliz­ ing, and then what do I have? Wait a minute. What about ./fjf5+ ? He has no choice, takes and I go .§. xf5. Then he can't take rook-mate on d6 by the queen. But he doesn't have to take. What do I have after �c6 or �c7? A piece gone. What about .§..15 instead? Well we are playing for ma�e, so a rook down wouldn't matter if it's sound. If his queen moves then �g5+ with a powerful attack. Nor can he meet the rook sac by e5, since we go �g5+ f8, ./fje6+ . So he has to take the rook and I take on .15 with knight, check. Then his king is drawn forward. But what if he doesn't take? Say �d6; but then I win the queen by .§. xf7+ ,ilxf7, .lfjf5+ . So he definitely has to take, and

145

then I must have something. An interesting position! So, 25 .§.f5 ef 26 ./fJ x .15+ ffi ( 26 . . . e6 makes no difference) 27 .§.d6+ . Two lines. Takes the knight or roo� blocks. If 27 . . . .§.e6 the win is easy: 28 i!Yg7+ xf5 29 .llc 2+ and now 29 . . . f4 30 i!Yg3 mate, or 29 . . . .§. e4 30 i!rffi+ g4 3 1 Ad I + and mate next move. So there remains 27 . . . ®xf5. Then what did I sec? Oh, yes! 28 i!Yf3+ .§.f4 (28 . . . g5 and White wins simply, 29 �ffi+ ®h5 30 Ad I + .§.g4 3 1 i!Yh6 mate) 2 9 �h5+ e4 30 Ac2+ e3. Can he really get away safe from there? No, there's 3 1 .§.d3+ and wherever h e goes 32 .§.d2+ and mate by 33 �e2. It's all there! Just check once more. How do I stand on the clock? Ten minutes left. I 'll check again. After all it's a question of a forced win, so time · trouble won't matter too much. That is the way it went in the actual game*. What can we say about the method of finding the combination? White stated the motifs-the bad king position, the open files. Nor did he fail to notice the special features of the position-the bishop at e8 that made �d6 mate possible in some lines. The thematic position was quite unknown to White at the *Tr. Note. Although the author does not state it, the game is Kotov­ Yudovich, USSR Ch. 1 939

146

Combinational Vision

start, yet there were several such motifs? M ainly the passed pawn positions-every mating position at e6. Two moves forward and that arose. Thus White went q ueens. Also my strong queen at e5, through the means of the the distance ofthe knight at b3 from combination (or more accurately the scene of action. Removing the speaking he sought continuations blockading queen would be that became the means) and saw desirable. The only way is lta3. that he could draw out the king into What other use for the bishop his own position and there give which is otherwise dominated by mate, so there were various the knight? Possibly 30 �h5+ thematic positions according to the gh 3 1 i!§-g5+ �f8 and only then 32 Aa3. way Black chose. In any event the sacrifices at a3 This was a typical example of h5 clearly figure as possibilities. and finding a combination by the i!§-g5+ where would the king After sequence motif-means-theme. Here is another example of the go? M akes no difference, since after i!§- x£6+ the king must go to g8same pattern ( /51) . �e8 allows mate in two by i!§-f7+ 151 and i!§-d7. So �g8 and then either i!§-f7+ and e7 or e7 at once. Clearly w we get a new queen and the whole question is whether Black has perpetual check in the interim. So 30 J1,a3 i!fxa3 3 1 �h5+ gh 32 i!tg5+ �h8 33 i!Yxffi+ �g8 34 e7. Now consider the checks 34 . . . i!fc I+ 35 �f2 i!Yc2+ 36 �g3 i!fd3+ 37 �h4 i!fe4+ 38 Botvinnik-Capablanca, Avro, xh7 (Forced, otherwise 2 i!rh8 mate) the battery opens fire by 2 {)ffi+ . If 2 . . � x h6 3 §. h3+ we find to our creative delight that it is mate in every variation, 3 . . . �g5 4 f!g3+ and 5 f!g6 or 5 §.g4 to follow. Then we seek other thematic positions of mate if 2 . . . �h8. By hard effort we find these too, though our previous examination of vanat10ns and discovery of thematic positions helps us in the search. Thus 2 . . . ffi. However the idea ofpawn promotion still persists. Then there comes the inspiration that d 7 would work if it forked units on eB and c8. So consider I §c8 § xeS 2 § dl+ § xe8 3 d7. Wait though, can three enemy pieces not cope with one pawn? Black has 3 . . t£)d6, but only a few seconds of dismay give way to delight when we continue with 4 de = � .!£)xc8 5 ab and finally promotion is forced. Here the order was motif­ theme-means. We considered the advanced pawns and then recalled the theme of a pawn on the seventh rank threatening a knight on the eighth. So the theme here was clear to us and preceeded the means. ( I trust the reader would not have been surprised if such means had not existed. We have already stressed that for a combination to exist we had to have certain special factors as well as the presence of motif, means and theme). Here is another example of the motif and theme becoming clear, with the difficulty lying in the search for the means to link the two ( 1 54). At this point, and possibly earlier than this, White must have had the feeling that a back row mate could be 'on'-all three pawns are in .

.

.

.

The Mind of a Grandmaster ! 54 II"

Adams -Torre,

New Orleans, 1 920

place denying the king a flight square off the back rank, while two pieces attack e8 and two defend it. Clearly a tense position. White can afford to put his queen en prise to the rook at c8 and to the queen at d 7, as long as he does not do it along the a4 /c8 diagonal. Where should White's attacked queen go to? Clearly i!Yg4 is possible; not i!rc4 as there is no threat and Black would just make a bolt hole or go I . . . .§ xe2. So I i!Yg4 when Black cannot go 1 . . . .§ xe2 since he loses his q ueen and White's remaining rook is guarded. (Don't lose sight of the fact that White too ha� no flight square and so a potentially weak back rank) . Neither black rook can guard the attacked queen, so 1 . . . i!Yb5 is forced. How then to keep the pressure on. 2 a4 looks fine, but wait, what about 2 . . . i!Yxe2! and you arc the one to be mated ( 3 't!Yxc8 i s met by the intermediate move 3 . . . i!Yxe 1 + ) . Good thing that was spotted in time!

149

So 2 a4 fails. What else? 2 i!Yc4 is a fine move now attacking the loose queen and closing the line of attack to the rook at e2. Fits in with the plan of diverting the defenders of 'lt'e8. So 2 . . . i!Yd7 is forced. Does that save him? Well, if we can go to e4 with impunity with the queen why not c 7 too? Then the same considerations apply and he is forced to b5 again with his queen. We rest a moment and then take up the search again. His queen is at b5, mine at c 7. Is 4 i!r x b 7 a diversion of the queen? No, he has that 4 . . . 't!Yxe2 again. Can we do anything with that rook at e2? If his queen was on a4 we would have 4 .§e4! threatening 5 i!fxc8 and then 6 § x a4 with a rook up. But we can get the queen to go to a4 by 4 a4! His i!Yxe2 doesn't work any more-our queen blocks his rook on the c-file. So 4 . . . i!Yxa4 5 §e4 and now back again 5 . . . i!Yb5. Now he isn't threatening 't!Yxc2, so we can go 6 i!Yxb7 and finally his quren has no squares !rom which to guard e8. Check it again. 1 i!Yg4 i!Yb5 2 �c4 i!Yd7 3 �c7 �b5 4 a4 �xa4 5 §c4 �b5 (Any alternatives? 5 . . �m 6 �xd6+ Ae7 7 § xe7, or 5 . . . g6 6 �xc8 �xe4 7 �xe8+ ) 6 �xb7. Hooray! This is the process then, by which the mind of a player, step by step, sees a combination, though at first he can only susprct that there is a .

150

Combinational Vision

beautiful possibility in front ofhim. should he find it? I n one case he Sometimes the suspicion cannot be docs not even know if there is such a turned into reality as the special hut, though his intuition and features do not 'co-operate'. experience oflifc tell him that there However fixing on a thematic could be. He tries this path and position, studying the moti£�, it is that. He may find it in the tangle of sometimes possible for the player to paths, or his search may finally find the means to link the two. The prove to be in vain. Nevertheless he creative thought of a player on the must seek it high and low! Then there is the case where the path motif-theme-means enables him to finally see the whole course of traveller knows for sure that there is a hut. He has been in this place this magical process. The grandmaster in his creative before and seen it. This time there search can be compared to a weary are no paths, and he must fight his traveller in the forest who is looking way through marsh, fallen trees and for the hut where he will find other obstacles. Yet there must be a warmth, comfort and rest. How path to the desired goal! Learn

from. the World Cham.pions

Once again we call upon the help of the world champions, and hope to develop our combinational vision by working through the thought processes behind their best efforts in this field. Our helpers will work through the variations without moving the pieces on the board, and you must try to do the same. This method, which most closely approaches the conditions of competitive play, cannot be recommended too strongly. You should seize every opportunity to solve puzzles, studies, and 'find the continuation' quizzes m newspapers and magazines. Here we will work through themes in the order in which we

have already considered them. Our supposition about the way the champions discovered and worked through their combinations is based on their notes, and partly on the author's knowledge of the men and their methods. 155 �}"

Alekhine-Golombek, Margate, 1 938

Learnfrom the World Champions

151

The position of diagram 1 55 /56 loo ks fairly level. I f Black can get in Jr h6 then he will soon follow up with the freeing move e5. However the presence of the knight at g5 and thr absence of a pawn at fl always suggests a check on the a2 /g8 diagonal. How can this diagonal be opened? Consider 1 9 d5 ! . If 19 . . . t;Je7 (as was played in thd6 33 �xffi+ mates) 33 �f8+ �e8 34 �f7+ xf7 23 Ah6 and after this quiet move he is faced with mate on e6, d5 or c4. He can't defend by moving the knight since then I have 24 4Je5+ . 23 . . . §.g8 fails too. So the only reply is 23 . . . �d6. Then 24 i!Yc4+ '3tl6. How can I get at

Leamfrom the World Champions

the king there? 25 .§ad I and the queen cannot flee. He must ofler the knight by 25 . . . ./£)d4. Well no problems there. 26 � xd4+ �xd4 27 § xd4. But that is nice, since there is still a mate threat on f4. I f 27 . . . .§c5 28 h4 ,ilxf3 gf and Black can resign. The pinned bishop at e7 must be lost. This is how the game went. \-\"hite prepared the ground for a combination by a breakthrough in the centre that opened diagonals and files. At the start he had no idea of the final thematic position, but by working through the means he arrived at the position where the threat of .§ f4 mate was decisive. 162 w

Smyslov-Konig, Radio match, USSR-·Gt. Britain 1 947 The earlier pawn sacrifice has left White with the advantage in diagram 1 62, since he has a concentration of forces round the enemy king. There is the open h-

155

file, but 3 1 )ftg2, 32 .§h I , 33 �h4 looks too slow. Three mO\·es is too long since it would let Black organize a defence, and my own king is not too safe. I must strike at his weakest point. He has a good defence built up on f7 and h7. The knight sacrifice on g7 looks right. Then I follow up .i£)5+ and the bishop attacks from h6 or ffi. That looks logical. (Of course Smyslov in his whole build-up would have seen that he was angling for a knight sacrifice on g7, but we are working on the basis that he has come 'cold' to the position, as the reader had done). Now to work out the variations. 3 1 -tlxg7 c2 �12 and it's hopeless lor White-say 20 �a3 i!rxe2 2 1 gf -'l,b4 22 'l!rxb4 &d3+ and the new queen at g I mates. Second 1 6 §.11 when the simplcst is 16 . . . �h4+ I 7 'i;t>d I gf= i!r+ 1 8 .Q.xn .Q.xg4+ 1 9 .Q.,e2 i!Yh l mate. Let us stress again that ahhough the presence of many motif� could be seen by a strong player, and the thematic position ofq uecning the g• pawn, or attacking with its help (no flight square at 11 ) was also clearly seen, it might have turned out that the means did not exist to link the two. What docs one do in such a case? Never mind, just keep on playing! Perhaps later in the game the combination may prove feasible. Even if not, there is no reason to despair. How ll)any games arc played without there being a combination. There arc other delights in chess!

I 57

Another case of an advanced pawn working like a piece and creating havoc in the enemy camp ( 164) .

164 H'

Tal-Suctin, Tbilisi, 1 969 Black hopes to exploit the Q-sidc weaknesses which he created by capturing the knight at c3 with his black square bishop, but where is he going to hide his king? I ca n already open fire at it with all my pieces mobilized by 1 6 15, when he must take since le mustn't be per­ mitted. So 1 6 . . . cf 1 7 cf �e5. Now 1 8 �c6! .Q.xc6 1 9 fe . Castling is ruled out by mate on h 7, so 19 . . . g6. If the queen goes to h3 he can castle or play 15, and if �h6 he still has 15. Wait, I can get a giant pawn on f7 by sacrificing the queen. 20 "¥.Yxc5 de 2 1 cf+ and if 2 1 . . . 'i;t>l8 then 22 .Q.,h6 mate. So he goes to the d-filc and I have discovered check. If 2 1 . . . 'lftd 7 then 22 Al5+ + d6 25 Axa8+ 'i;t>e7 26 Jl�5+ 'i;t>J8 27

I 58

Combinational Vision

.§dB+ and it"s over, or 2 1 . . . h8 62 §.b8 � xg l + etc. So what can White do? Ah, there is a tricky line-58 §.g 1 d2 59 .§ x f6. Now the careless 59 . . . c2 concedes a draw to 60 §.f7+ 'lfj>h8 6 1 §.f6! �h7 62 §.f7+ and perpetual check. 61 . . . §.c7 would even lose-62 .§h6+ §.h7 63 a7. So be careful! Is there a win there? Yes, by defending the second row. 59 . . . §.c7 stops the check at f7 and the pawns will win. So there were moti(� for the combination, Botvinnik worked through the means and came upon a thematic position in which three advanced pawns overcome a rook. The game actually finished 59 §. xffi §.c7! 60 .§ fg6 d l '/!Y! 0-1 , but not 60 . . . c2? 6 1 §.6g5 with a draw. Diagram 1 66 is a famous example in which Alekhine played a long combination on the theme of forking. We remind readers of our advice to try and work through examples mentally, without mov­ ing pieces. If you can do this here, you have already made great =

Leamfrom the World Champions !66 B

Reti-Alckhine, Baden Baden 1 925 progress in developing your combinational vision. If you cannot work through all the complicated variations at sight, do not worry. You still have a way to go, but practice will make perfect. Now let us work through it. The first move is obvious, I . . . 4Jxe2+ and the king must go to h2, since 2 c;tn is met by 2 . . . 4jxg3+ 3 lg Axf3 4 Ax£3 .§. x f3+ 5 �g2 §8a3 6 .§.d8+ 'ifth7 7 .§. h l + �g6 8 .§.h3 .§.fb3 and the threat of mate on the back two rows forces White to abandon his knight; or 2 �g2? .Q. xf3 + . White's pieces look badly placed. An unharmonious mass on the K­ side and the omide knight at b7, which could be exploited by getting the bishop on to the h I /a8 diagonal. There is the forcing move 2 . . . l£)e4 when 3 fe is bad-3 . . . l£)xd2 with win of material. Hoth rooks are attacked, so I am surely winning. Wait! He has the tricky 3 §c4! Nice! Then 3 . . . 4Jxd2 4

/59

4Jxd2! and I have nothing e.g. 4 . . . .§.d3 5 4)c5 § xd2 6 Axa8. So consider 3 . . . Axf3 4 .Q.xf3 4j xd2. No, he has the alternative 4 .§. xe4! § xe4 5 Axf3 and Black might even lose. Such tricky lines show the need for real care. Need I be looking to take his rook? 3 . . . 4J x f2 removes the threat to my rook, and threatens 4 . . . 4jxh l and if 5 � x h l ..Q.xf3 with check. So he will go 4 llg2, and th-e position loses some of its tension. How can Black win? Just a pawn up with such a relation of forces would not win an endgame. He could give up a knight for a pawn with a theoretical draw. Something forced has to be looked for instead. Clearly I must attack and 4 . . . Ae6 fits the bill. His rook is en prise, a knight check on g4 becomes possible, followed by discovered check-his king cannot go to the back rank in view of my .§.a l + . Where will his rook go? Jf5 §b4 4)g4+ 6 �h3 then 6 . . . 4)f6+ 7 �h2 4je4 8 .§.dB+ § xd8 9 4j xd8 �2xg3 and Black is two pawns up. The same variation applies if 5 .§.c7. Why look at passive moves by the rook? He will play 5 §c2 attacking both knights. Then there must either be a forced win, or I will have to play thr long boring endgame with two pawns against one on the K-side with only minimal winning chances.

160 · Combinational Vision

So 5 .§c2 �g4+ 6 lti>h3 (again 6 lfth l .§a ! + ) 6 . . . �e5+ 7 lti>h 2 (Not 7 lfth4 .§a4+ and mates) . Now taking on f3 with knight is j ust an exchange. H I take with rook on f3 he clearly won't recapture but go 8 § x e2. Wait, then I have a forcing variation with him finishing with his rook on f3 and I get the forking move ,ild5 to hit §f3 an.d �b7. It runs 7 . . . § x £3 8 § x e2 �g4+ 9 lfth3 (Yet again the back rank is forbidden to him ) . 9 . . . �e3+ 1 0 lfth2 � xc2! I I ,ilxf3 .f:\d4 1 2 .§f2 .f:)xf3+ 1 3 .§ xf3 itd5! ( 1 67) .

Alekhine-Chajes, Calsbad, 1 9 1 1

development and the chance to use various open lines, notably the d­ and f-files. Getting a knight to d6 with a catastrophe for Black on f7 would be fine, but the immediate capture on b5 (with knight or 167 bishop) loses two pieces for a rook in view of his queen check on b6. If his JV knight were on b4 and I had an open b-fi1e, the capture on b5 would be feasible since .§ b l then piles up pressure on the pinned knight on b4, so: l b4! �xb4 2 �xb5 § x b5 3 ,ilxb5 i!:Yb6+ 4 lti>h l i!:Yxb5 5 .§ b l . Now the threat is 6 a3, and Black Yes, that's it. The rook must must move his queen to one of three move and cannot guard the knight. sq uares--a5, c5 or c4--still Yet again a motif, here the cut­ guarding the knight. 5 . . . i!:Ya5 6 offknight at b7, was combined with ,ild2 wins a piece. 5 . . . i!rc5 6 § c l the idea of a fork on the h 1 /d5 and the bishop a t c8 falls. O r 5 . . . diagonal, and examination of 'V:!rc4 6 'V:!ra4. So queen moves don't various forcing lines provided the save him. Try 5 . . . Aa6 so that if6 a3 'V:!rxfl + . means to link the two. In diagram 1 68 White has White has to move his queen up obvious plusses in his better in order to rule out the capture on

Learnfrom the World Champions

fJ . Right, there is 6 �d6 putting the pressure on. Then if 6 . . . .if)e 7 there is 7 �xb4 �xb4 8 .§ x b4 ,.llx fl ? 9 .§ b8+ winning the rook at h8. Can Black try slipping away with the queen? If6 . . . �c6 then 7 t'! xb4 �xd6 ed Jtxfl !? 9 § b8 mate. What else? Make room for the king by 6 . . . ffi. But then I can simply go 7 .§fc I and the knight is lost. The game ended 6 �d6 ffi 7 §fcl �d3 8 t'! x b4 g5 9 �d4 �b5 1 0 a4 �b7 I I !!c7 �bl + 1 2 §d l

161

Black tempi in playing his own a7 White won by 1 8 4::) x a6! Jlxh3 19 e5! .!fjxe5 20 de fe 2 1 c:£)c5+ �b8 22 gh e4 23 {)xe4 �e7 24 �c3 b5 25 �c2 1 -0. 1 71 B

Amateur-Steinitz, London, 1 869 In diagram 1 7 1 Black has excellently placed pieces, and could take on e3 if White had no knight at f3- 1 . . . ,ilxe3 2 � xe3 �fl mate. That means the knight has a vital function and any piece could be put en prise to it. Try 1 . . . �h4 so that if2 .!fjxh4 ,ilxe3. Now 3 h3 gfl+ 4 '1Jh2 .Qg 1 + 5 �h1 .!fjg3 mate (Note that this mate is exactly the same as in the previous example, showing how there is nothing really new!) or 3 g3 �e2+ 4 �h l � x e l + 5 �g2 .§.g 1 + 6 �h3 ./fjf2 mate. That suggests the need for a flight square at h4, so 3 ./fjg6+ hg 4 g3 � e2+ 5 ffi 35 �f4 l -D In deciding whether to sacrifice or not there are side-issues which can

192

Calculation and Practical Play

indicate one way or the other. These include the character and style of the opponent, the situation of the tournament or match in which you are involved, the state of the clocks, and the possible effect on colleagues in a team match. A sacrifice may be more effective if played against a quiet player than one delighting in complications. You yourself may be one or the other. If you must go for a win, a sacrifice may well be indicated, but there are situations where a draw would suit you. Complications are best avoided in time trouble, unless you stand badly: of course if your opponent is badly short of time a sacrifice by you, even if not totally sound, has good chances of success. Particular factors are involved in team competitions. Here the game is not just your personal responsibility since the course of the game will be followed with concern by your team mates. In such cases the spirit of collectivism has to be considered. Let us assume that you have played a correct piece sacrifice. Only you know the fine points of your concept; to your colleagues i t might seem that you have just lost material. Then they will start getting worried and this can affect the overall score. That is why, for example, in Soviet teams playing in the Chess Olympiads there is a strict though unwritten rule. You have to play in such a way that the rest of the team does not get concerned about . your position. Even the greatest adherents of sacrificial play subordinate themselves to this consideratim;t. A large number of games are decided by assuming the offensive in the centre or the Q-side: in such cases sacrifices are less common; both piece pressure and pawn storms are suitable devices. When pawns advance in such cases they do not necessarily open lines, but the advance may also free space for the pieces to manoeuvre in. The reader has already seen examples of various sorts of offensive in the centre, and on the Q--side; often pressure on the Q-side grows into an attack on the king. Such a transfer of the atta�k from one wing to the other occurs frequently in practice. The important strategic postulate behind such play on both wings is that the pressure on one wing alone can be defended against adequately by the opponent, especially when the active side ha:s no entry points for his pieces. In this case it is important to initiate action on the other side of the board. This stretches the defender's resources in having to move his pieces this way and that, especially if he lacks manoueuvring space. At some point the defender will not regroup in time and so suffer loss. Many games have been played in accordance with this strategical idea.

The Three Fishes in Action

193

Defending

When a player gets an inferior position he is forced to defend, as indicated by Steinitz. The first essential is to realize the moment when your are required to adopt the defensive role and give up all ideas for the time being of winning. Many players recognize this too late, and start taking the necessary measures when it is already very hard to save matters. The author of this book, must, alas, be counted amongst this number-there you are sitting back and taking it easy when the enemy is already at the gates! This feeling for danger is a most valuable asset, part natural and part acquired by practice. Karpov and Petrosian have such a sense of danger to a high degree. To achieve such a sense demands not just general understanding of the game, but al�o strong will power and self-control. Once you have recognized that you are in some danger you must mobilize yourself to create the maximum difficulties for the opponent, put obstacles in his way and so hope to slow down the pace ofhis assault. It is at that point that you can start thinking of seizi.ng the initiative again. Passive defence demanding calm nerves and sticking power. There is also the policy ofexchanges, especially of our passive units for active enemy ones, with the long term aim of reaching an endgame that will be easier to draw. This is particularly the case with rook and pawn endings or opposite coloured bishop endings. Of course this pre-supposes that the defender has a high level of endgame technique and knows how to play these endings which have a marked tendency towards a drawn outcome. 'Attack is the best form of defence' is a slogan that applies in many spheres of activity, chess included. If you choose the exact moment to counter-attack, it can have great psychological effect, so we advise the reader to take plenty of time over his choice of when to play the appropriate counter blow. We must stress that preparing such a counter strike when under pressure is a difficult art, but the reader must try to master it. Counter attacking moves as a rule are very striking and enrich chess no less than the finest combinations. That is why players who have mastered this art have always been so highly thought of. Level Positions

The position from which the game starts can be considered as fairly level. In the course ofplay one side often gets the better ofit while the other side is forced to defend. However in many games the equilibrium is not disturbed and the players manouevre in accordance with Steinitz's precept, trying to

194

Calculation and Practical Play

upset the balance in their favour. I f no mistakes or inaccuracies are made, then level positions keep on producing even chances for each side. However the same methods of applying the three factors of chess mastery apply, though the effects they produce may well be in more subdued tones than when one side is bending the other to his will. For the same reason, play in such positions tends to be more exacting than when the aim is clearer. To recognize the cruci�l moment when a chance is presented is not easy and the only guarantee against failure is the overall and move-by-move assessments which we mentioned in Part One. 209 w

Alckhine-Feigin, Kemeri, 1 937 Assessment indicates that diagram 209 is fairly level, though Black has weak points at b6, d6 and ffi. There are some drawbacks in his piece position too, but the possession of d5 is valuable for him. Alekhine's aim in his subsequent manoeuvring is easily understandable. He will try at all costs to drive an enemy knight from d5 so as to cramp Black. Also he will try to block the Q-side by a4-a5. Finally the position of the pawns at h6 and g6 may enable White to weaken the K-side further by the advance of the h-pawn to h5. Black in his turn must try to prevent these threats directed against his weaknesses, and aim to avoid being more and more cramped for space. �d7 1 6 t!le i 1 7 Jlh2 Removing the bishop from attack after Black's �d5, and freeing f4 for the knight transfer {)c3-e2-f4. 17 . . . �10.5 1 8 �e2 t!fd8 1 9 �f4 Jlf5 20 �xd5 �xd5 2 1 .ilc4! Jte6 22 a4! t!ac8 23 Ab3 �c7 24 a5

The Three Fishes in Action

195

White has achieved one of his aims, and Black should fight this blockade by b6, but he restricts himself to attempts to make use of the weakened b5 square. 24 . . . �d7 25 Jta4 i!re7 26 Ag3 'IJ,c7 27 Ab3 �d7 28 Ah4 '[J, b8 29 Aa4 �c8 Typical slow manoeuvring play. White has achieved something in that the rook at b8 is not well placed, but this is not a great achievement and White continues his process of 'feeling out' the enemy position. 30 'IJ,ac l '[J,c4 Here is where 30 . . . b5 was necessary. Now White gets the chance to cramp Black's pieces. JifB 3 1 Ag-3 32 h4! {)ffi Otherwise h5 would weaken the K-side seriously . 33 Jib3 '[J, xc l 3 4 '[J, xc l i!rd7 35 d5 (210) 210 B

Now the position can no longer be called level. White has cramped the enemy pieces which can no longt>r cope with White's pressure. 35 . . . Af5 36 "l!rb4 Ae4 37 �d4! "l!ff5 38 4Jd2 Axd5 39 Axd5 4Jxd5 40 4Je4 ThC' time has come to exploit the advantage. There is a threat of 4 1 �xd5 and 42 4Jffi+ as well as the capture on d6. 40 . . . Ag7 41 4Jxd6 �e6 42 �d2 4Jffi 43 i!rc2 h6? (Speeds up his defeat, but even after the s uperior 43 . . . 4Jh5 44 Ah2 b5 45 4Jxf7 White has the advantage) 44 ilrc7! {)d7 45 4Jxf7 '[J,f8 (45 . . . i!f x £7 46 '[J, d l winning) 46 4Jd8 i!f£6 47 §d l l --0

196

Calculafion and Practical Play

The Opening

The exaeting reader of this book whose aim is to know how to beeome a grandmaster may wonder at the amount of attention given to the middle game compared to the opening and endgame. Our answer is that in these phases of the game we get the same struggle of the pieces, of plans, tactical blows and combinations, though the first and last parts of a game do have their special features. However there are incomparably more books available on the endgame and opening than the middle game. As a result, understanding of the middle game has greatly lagged behind those phases of the game where memory and learning now play such a big part. We can discern four different attitudes to the opening depending on a player's tastes and character. I . The wide reader: Talk to some young masters and they will overwhelm you with reference to a mass of variations, complete with references to games, who played what and when, what the world champions said about it. This is not just a specialist in one opening, but a walking encyclopedia who knows nearly all openings, remembers all the variations in the specialist works of theory. Can he be called an expert in the openings? Strictly speaking, no. If you dig deeper, you find that he spouts out the variations without feeling the finesses of the position. Yet how much time goes on the study of these books and magazine articles! Such a pia yer hardly has the time to study the basic theory of the middlcgame and other aspects of chess. This approach cannot be recommended; it is sure to lead to impovb5 wins the knight).

Diagram 219. Boleslavsky-Smyslov, Leningrad, 1 948. White played 30 'it>fl and lost. Smyslov writes, 'The right decision for White was 30 t'!d6 to force off rooks, and so rt"duce the attacking Ioree of Black's pieces. After 30 t'!d6 t'! x d6 3 1 Jlxd6 15 32 f4 'it>t7 33 ®f3 White has a passive position, but it is quite sound, and he has drawing chances.'

Index of Names

References

arc

to diagram numbers

Adams 1 54 A1atortsev 2 1 2 A1ega 1 9 1 A1ekhine 1 , 32, 52, 53, 57, 7 7 , 96, 1 55, 1 58, 1 66, 1 68, 1 72, 1 80, 1 9 1 , 209, 2 1 7 Andersson 49 Am1augsson 6 7 Averbakh 33 Baku1in 1 33 Ba1ashov 1 6 1 Bangiyev 1 1 6 Barcza 1 48 von Bardeleben 1 56 Benko 1 30, 1 95 Bernstein 37 Bogo1jubow 1 5, 1 7, 27, 52, 2 1 7 Bo1es1avky 23, 35, 2 1 9 Bondarevsky 2 16 Botvinnik 6, 9, 12, 1 8, 20, 25, 35, 4 1 , 44, 47, 76, 83, 84, 90, 9 1 , 98, 1 5 1 , 1 60, 1 65, 1 78, 1 92 Bronstein 1 48 Browne 70 Byrne 75 Capablanca 1 7, 2 1 , 26, 40, 64, 85, 94, 95, 96, 1 5 I , I 76, I 89, I 99, 2I I

Capello I 83 . Carls 22 Chajes 57, 1 68 Chekhover I 05, I 78 Cheremisin I 36 Chumak 1 36 Corzo I 89 E1iskases 50 Engels I 52 Engiisch 80 Euwe I , 24, 77, I 74, I 87 Faktor 2 I 3 Feigin 62, 209 Fischer 29, 79, I 30, 1 69, 1 86, 1 94, I 95 Flohr 6, 62, 1 99, 2 1 6 Freeman 1 80 Furman 19, I47 Geller 2 Gendel 1 45 G1igoric 8, 10, 29, 34, 59, 1 69 Gog1idze 1 60 Go1ombek 28, 1 55 Golz 1 6 Helling 32

220

Index of Names

Hewitt 1 79 Holmov 1 0 1 Hort 1 3 Ivanovic 1 3.'l Janowski 1 5, 64 Johansson 1 44 Kaklauskas 1 26 Kalmanok 1 4 1 , 201 Kan 204 Karaklajic 1 39 Karpov 3, 1 3, 3 1 , 48, 49, 55, 60, 67, 70, 82, 92, 1 38, 1 93, 208, 2 1 5 Kasman 99 Kazantsev 107 Keres 1 0, 1 1 , 1 4, 23, 24, 1 8 1 Kiselev 1 26 Koltanowsky 1 90 Konig 162, 2 1 8 Konstantinopolsky 1 1 1 Korensky 1 3 1 Korolkov 1 20 Kotov 5, 34, 36, 39, 42, 43, 50, 6 1 , 93, 97, 1 0 1 , l l 7, 141 , 1 50, 183, 200, 201 , 202, 205, 2 14 Kupreichik 1 84, 1 85 Larsen 38, 1 63 Lasker 26, 7 3 , 85, 1 27, 1 46 Levenfish 4 1 , 2 1 2, 2 1 4 Lilienthal 1 9 Lloyd 1 1 3 Ljubojevic 1 29 Lundin 44 Makogonov 9 Marshall 94 Mason 109

Medina 1 2 Me1ikov 1 32 Mi1icevic 1 29 Molina 1 58 Moore 143 Najdorf 33, 38, 1 77, 186 Neyshtadt 61 Nimzowitsch 95, 1 76 Olafsson 1 28, 1 93 Ortueta 103 Pasman 206 Petrosian 30, 74, 78, 87, 1 16, 1 6 1 , 1 75, 1 8 1 , 1 84 Pillsbury 73 Pi1nik 93 A Polyak 202 Polugayevsky 48, 2 15 Pomar 76, 92 Popovic 1 35 Portisch 1 25 Ragozin 5, 84, 1 46, 2 1 1 Ravinsky 1 88 Ree 1 34 Reissman 1 00 Rey 144 Reshevsky 78, 200 Reti 2 1 , 22, 1 66 Rokhlin 1 42 Romanovsky 72 Rubinstein 2 1 3 Ryumin 204 Sanz 103 Sergeycv 1 1 7 Sergicvsky 1 38 Shakhnazarov 1 32 Si1ich 1 42

Index of Games

Smyslov 14, 1 6, 25, 28, 59, 98, 147, 162, 165, 1 82, 1 87, 1 88, 2 1 8, 219 Sokolov 1 33 Sorokin 20 Spassky 30, 3 1 , 60, 74, 87, 1 3 1 , 163, 1 75, 208 Stahlberg 1 1, 43, 97 Steiner 36 Steinitz 80, 1 56, 1 7 1 , 1 79 Sveshnikov 1 85 Suetiri 1 64 Sushkevich 1 45 Szabo 8, 83 Taimanov 2, 42, 79 Tal 47, 75, 1 25, 1 28, 1 64, 1 77, 206 Tarrasch 53 Teichmann 37 Thomas 90, 1 74

Torre 1 27, 1 54 Troitsky 1 1 2 Tylor 1 72 Uhlmann 1 82 Unzicker 82, 9 1 , 1 94 Vajda 205 Vidmar 40 Villeneuf-Esclapon 1 1 5 Vilner 72 Wahltuch 27 Williams 55 Winawer 1 09 Yudovich 18, 1 50, 192

A Zaitsev 3 I Zait�ev 1 34

221