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Move Two! Chapter 6

Chapter 6 of Move Two! introduces the Giuoco Piano. Chapter 2, you will recall, taught the Giuoco Pianissimo, which has led over the years to many dull games at junior and novice level. “Old Stodge”, EM Forster called it, quite rightly. It’s dangerously easy to play the opening but hard to play the middle game because of the closed nature of the position and the lack of suitable pawn breaks. Because children have no problem learning the moves, playing like this is superficially attractive and many of them go for years without trying anything else before giving up the game out of sheer boredom. You just need to know how to play it with Black, and to recognize from a long way off the idea of pinning the knight, attacking the pinned piece and doubling the pawns in front of the king.

But children will only make real progress when they learn to calculate: and one way of learning this is by playing open positions. The open lines of the Giuoco Piano are ideally suited for this purpose. Theoretically, it’s not dangerous for Black, but at lower levels this really doesn’t matter. Children will move on to the mostly quieter, but more subtle, waters of the Ruy Lopez when they’re ready to do so.

So we start with 1. e4 e5 2. Nf3 Nc6 3. Bc4 Bc5 4. c3. Important point: many novices fail to understand how the c-pawn can be used in fighting for the centre, only moving their e- and d-pawns at the start of the game. I can feel another article coming on: think of the Queen’s Gambit, the Sicilian Defence and the English Opening, not to mention the Ruy Lopez. We then travel down the main line: 4.. Nf6 5. d4. Another important point: the strength of the pawns on e4 and d4, and the concept that, if after 1. e4 your opponent plays a move that doesn’t prevent or discourage 2. d4, that’s the move that should be played.

After 5.. exd4 (we consider some of Black’s undesirable alternatives here) 6. cxd4 White has constructed the ideal centre. Black needs to challenge this so gains time by playing a check: 6.. Bb4+. Now White has a choice. 7. Bd2 is solid and, as long as Black challenges the centre with 7.. Bxd2+ 8. Nbxd2 d5, he will reach an equal position with White having an IQP (Isolated Queen’s Pawn) – another important topic for later discussion.

Instead White may prefer the gambit lines starting with 7. Nc3. This has been considered theoretically dubious for many years, but, at this level, no matter. Open positions where rapid development and precise calculation are necessary are ideal for developing tactical ability. Unless s/he knows the theory, Black is unlikely to find the correct moves. For example. after 7.. Nxe4 8. 0-0, as we’re taught to prefer bishops to knights in open positions, 8.. Nxc3 is more intuitive than 8.. Bxc3, but it’s the latter that gives Black chances of an advantage while the former favours White. Anyone playing lower level competitive chess who learns the material in this chapter will surely score well with it as very few of their opponents will know the theory.

The Activities section then presents a short selection of quick White wins in this opening. This is a feature which will eventually be expanded as the material is developed. It’s infinitely easier now than it was 20 years ago when Move Two! was written to find suitable games, and we can easily arrange for them to be playable online to assist the student.

Masters of the Universe, our exploration of the history of chess through its world champions, reaches Alexander Alekhine in Part 6. We take a brief look at his life and career and demonstrate two games, one from his teenage years, and one from towards the end of his career. The name of Alekhine’s opponent in the first game is given as Rozanov and Romanov in different sources. On writing this I just noticed something that hadn’t occurred to me before: both games conclude with 26. Qg5xg6.


Richard James

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The Pep Talk

Learning how to play good chess can be discouraging for the young beginner. I know that I came close to giving up on this fantastic journey on numerous occasions. What kept me going were words of wisdom and encouragement passed on to me by experienced chess players and teachers. I decided to write this article after witnessing a verbal exchange between a very young member of a rival chess team and his coach. The child in question had a very bad result at a recent tournament. I stood speechless as the coach berated his student in front of the other members of their team. The poor young man was in tears and the coach wouldn’t let up. While others stood and watched, I walked up to the coach and asked to have a word in private. After we walked away from his students, I simply asked him why he felt the need to make a bad situation worse by berating a child. He told me that he used tough love and didn’t pamper his team members the way I did. I suggested he not berate children in my presence and walked away. I was angry but I wasn’t about to get into an old fashion donnybrook in front of a hall full of children.

When children become involved in competitive chess, they face a series of challenges both on and off the chessboard. While children can emotionally bounce back from most problems easily, we still have to remember that their egos can be extremely fragile when under pressure. A lost game can be painful. A lost tournament can be devastating. When a child loses a tournament, they often feel as if they’re letting their teammates, coach and parents down. Young children haven’t developed intellectually enough to put their losses in proper perspective. Some of my students may play chess better than many adults I know but they’re still children. Just because they play chess like an adult doesn’t mean they handle emotional pain with the same level of maturity. One of the things I do early on when working with my newer students is to talk about handling losses and how to overcome them.

The journey towards the mastery of any endeavor, be it music or chess, is never without a few setbacks. These setbacks can be thought about as a test of one’s commitment to the journey. While adults can rationalize this, children cannot. These setbacks can discourage a child which can lead to a complete disinterest in continuing the journey. The journey a child takes along the road to chess mastery has to be exciting and fun. While there will be setbacks, approaching these bumps in the road in the right way can be the difference between a child simply giving up on chess or continuing on with renewed vigor. The first painful setback for chess children comes when they start losing more games than they’re winning. I tell them the following story:

There once was a little boy who couldn’t play chess very well. He took lessons with a local chess teacher as did all of the little boy’s friends. However, as the boy’s friends got better, he made little progress. Soon, all his friends could beat this little boy and even his chess teacher was becoming discouraged. The boy would cry late into the evenings, wondering why he couldn’t play chess like his friends. One summer day, the little boy woke up and had a thought. “Today’s the day that I’m going to turn things around. I’m going to reread that book my chess teacher gave me and practice even more.” The little boy pulled the book from a shelf above his bed, set up his chessboard and started to read. Rather than watch his favorite morning cartoons, the little boy dedicated this time to getting better at chess. He worked at it day after day, month after month. Very soon, he was no longer losing games. In fact, he started winning games and joined his school’s chess club where he became one of their best players. The little boy didn’t give up, instead working harder to improve his game. That little boy was me.

My students are amazed that I had such a hard time learning how to play chess (and still do). They think, since I’m their chess coach, that I must be some sort of chess guru. Some of my young students have said “I bet you’d beat Bobby Fischer if you played him.” When I tell them that Fischer would crush me, they’re surprised. However, this brings up another point I make to my beginning students. There will always be someone who plays better chess but this can serve as a challenge to improve our own game.

The beautiful thing about chess is that, while there are always going to be players who are stronger than you, there are also players who are weaker than you. This means that you’ll have your share of victories. When my students ask if I’ve ever lost a game (remember, these are very young children), I reply “of course I have.” I tell my students that I love chess so much that I don’t mind losing a game if I gave it my best. I also tell them that my greatest lessons which led to improvement came from games I lost. After a loss, I sit down, replay through the game and determine where I went wrong. We learn from our mistakes.

Parents have to be on board with this way of thinking as well. I’ve seen my share of chess parents ruin the game for their children by having unrealistic expectations. When talking to the parents of my new students, I make it very clear that children’s chess can be very stressful and it is critical that both the parents and the child’s coach make that child’s chess experience positive. I interview the parents and ask them how they deal with losses in their child’s life to ensure this. Fortunately, I haven’t had many hardcore chess parents to deal with. I work with the parents to create a monitoring system, helping us to ensure their child is having fun and improving at the same time. As for the chess coach first mentioned in this article, my team took first the last two tournaments we played against his team, so I guess the “pampered” team had the last laugh.

To parents and coaches reading this, remember that chess should be fun and exciting. Children’s feelings can easily be hurt so be kind to them. Help them face their losses in a positive way. Be supportive and proactive. Don’t forget, they may play chess at a seemingly advanced level but they’re still kids. Here’s a game in which a young Bobby Fischer takes on Samuel Reshevsky.

Hugh Patterson

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An Interesting Gambit Against The French

Here’s an interesting and little known gambit that I only found out about yesterday. White makes out that he’s playing for a Milner-Barry Gambit with 1. e4 e6 2. d4 d5 3. e5 c5 4. c3 Nc6 5. Nf3 Qb6 6. Bd3 but after 6…cxd4 plays 7.0-0 rather than 7.cxd4 Bd7 8.Nc3 Nxd4 9.Nxd4 Qxd4 10.0-0. Of course Black can capture on c3 with 7…dxc3 but after 8.Nxc3 White gets pretty good positional compensation for the pawn.

So most of the players who’ve had to face this with Black meet 7.0-0 with 7…Bd7, still hoping for regular Milner-Barry gambit territory after 8.cxd4 Nxd4 9.Nxd4 Qxd4. But White doesn’t have to do that and can instead continue to offer the c3 pawn with 8.Re1.

In the following encounter this line got quite a scalp in the form of the veteran Armenian GM, Rafael Vaganian. White was that well known gambiteer Jonny Hector who has been sacrificing pawns throughout his lively career:

Nigel Davies

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My Understanding: How to Study Openings and Related Plans?

Experts don’t need advice. So this article is for intermediate players and for the players who do not want to memorize opening moves, variations and novelties. I have invested some years, bucks and faced some painful losses in order to develop such understanding. I am sharing the same information with you that might be useful to you to improve your chess game.

I have divided this study into three parts.

Pawn Structure:

First of all try to recognize the typical pawn structure that your opening produces. For better understanding we will go through an example.

See the diagram (^), captioned pawn structure is product of exchange variation in Caro Kann defence.
1. e4 c6
2. d4 d5
3. exd5 cxd5

The same pawn structure can be produced by playing the Queen’s Gambit Declined Exchange Variation but colour reversed with following moves

1. d4 d5
2. c4 e6
3. cxd5 exd5

My point is that, your work can be reduced to huge amount as you can apply different opening plans in different ones.

What Do Particular Pawn Structures Offer?

Every pawn structure offers something for both, for example in our example it offers White a half open e-file, a good squares for knight on e5 and c5 and better chances to play on king side by playing f4 and bringing rook in to the actions. On the other hand it offers black a half open c-file, c4 and e4 square for knights and better chances to play on queen side.

Finding pawn levers

White is having pawn lever at f4-f5 which generates the weakness either on e6 or isolated pawn on d5 and in some cases c3 to c4 if black plays f6 (weakening the a2-g8 diagonal).

Black is having pawn lever at b4 which produces weakness on c3 and d4 in white’s camp. And if you have exchanged white knight on e5 then you have pawn lever on d4.

How to use above information?

Now if you aware about your pawn structure, its offering and pawn levers, you will automatically find the piece placement and plans for your game.

Considering our example,

Plans for white:
- Placing the rooks on e and f file.
- Knights on e5 square.
- Dark Square Bishop on h2-b8 diagonal and light square Bishop on b1-h7 diagonal.
- Placing queen on e2 to transfer on king side and pressuring on e6 square with the help of f4-f5 lever.
- Playing f4 to bring king side rook into action (Rf3-Rh3 sometimes) and preparing f5 break.

Plans for Black:
- Placing rooks on c and b file (for b4 lever) sometimes on e file in order to prevent white’s f4-f5 break.
- If you have exchanged white’s knight on e5 then you can place rook on d file for d4 pawn lever
- You may exchange white’s dark square bishop by playing Bd6 and placing light square bishop on b1-h7 diagonal by Bg4-h5-g6 in order to reduce white’s light’s square bishop’s pressure on the same diagonal
- Plan for b5-b4 lever and attack on c3 weakness and if your knight is exchanged on c4 white has new weakness on b2.

Of course you have to watch out for your opponent’s plans too.

If you observed carefully I didn’t memorize any moves or I didn’t work too hard to find right plans because of understanding of pawn structure and its offerings but invested so many hours behind developing such understanding of given pawn structure.

Some tips on developing the understanding of pawn structure

- Play the structure from both sides and choose the opening accordingly.
- Study games and observe pawn levers and piece placement rather than memorizing games.

You can also divide same kind of information into pieces for the pawn structure you are playing. That enables you to play with clear plans in your game with related piece placements.

Ashvin Chauhan

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Waiting for Bobby Fischer

When I was a teenager, my father decided it was worth a little of his money for me to learn the rudiments of self-defense. So he paid for me to attend a series of lessons at Ozzie Sussman’s Gym in Rochester, New York. Ozzie was a Jewish middleweight whose heyday had been the late 1940s. Photographs of a younger, more belligerent Ozzie in action poses adorned the gym walls.

I gave no thought to becoming a serious boxer. All parties concerned understood I would have no further connection with boxing when my lessons were done. Meanwhile I would gain some familiarity with skills that might come in handy if I were ever physically attacked, though that was not likely to happen in the white-collar life I was expected to lead. Perhaps I would gain some self-confidence. No doubt my father believed I would become a more well-rounded person.

And so once a week for several weeks I drove myself downtown to Ozzie’s small gym, where Ozzie and I would spend a vigorous half-hour together. He taught me the names of various punches, demonstrated them for me, then stood in his boxer’s crouch with a red pad strapped to one arm while I tried to deliver the correct punches on demand, one by one and in combinations. Now and then he would reach out with his free hand and forcefully poke my bony chest, effortlessly penetrating my flimsy guard. A stocky man in his sixties with Levantine coloring, Ozzie was still remarkably fit. I remember the sweat gleaming on his rounded muscles. I was tall, pale, scrawny, and uncoordinated: hopeless as a boxer, much better suited for chess.

One week I forgot to go to my lesson, or was late; I forget which. After that incident Ozzie referred to me as “The White Hope”—explaining to his audience, “He’s white, and I hope he shows up for his lesson.”

I look back on this brief interlude of pugilism as largely irrelevant to my development, but harmless, perhaps even mildly benign. Was it worth my father’s money and my time? I have not yet been physically attacked by another adult, but you never know, it could happen. If it does, I hope I don’t let Ozzie down. Perhaps I learned a few things about the art of boxing, foremost how exhausting it is to box even one round. Ozzie certainly benefited: the modest fees my father paid helped him earn his living. Perhaps not a very good living, but Ozzie was his own boss and got to do work that was at least related to what he loved, which is worth something.

There has been some discussion here about the proper training of young chessplayers, and I expect there will be more. I don’t make my living from chess, so perhaps I can afford to be laissez-faire, but my attitude is, Let the people who want to be serious about chess be serious, let the other people find their own level of engagement, and good luck to everyone.

We all know from experience that the best way to engage people with the game is to offer them compelling role models. For a few brief years, Fischer was that role model in the West. There is no one remotely as interesting to the Western public nowadays, or on the horizon. If I had to identify any American player who might conceivably be able to make an impression on the public psyche, perhaps I would name Sam Shankland, a young GM who recently received the lucrative Samford chess fellowship that will help pay his expenses for a couple of years while he works on his game. Shankland is a goodlooking young fellow who also has an edge to him—qualities that will appeal to the mainstream media. Whether he is ever going to make a significant impression on the American public partly depends on how dedicated to chess he decides to be.

Meanwhile, many chess professionals, especially in the U.S. and U.K., have decided that dependable money is to be made not by competing in tournaments or trying to develop serious players, but by serving the transitory youth market: teaching in after-school programs, giving lessons, and selling chess sets, videos, books, and software to the kids, i.e. to their parents who write the checks. Few of these kids will ever amount to anything in the long run, if we define “anything” as strong chessplayers who persevere to gain master titles and more.

What is wrong with this picture? I say, maybe nothing at all. Every year many kids are getting exposure to our wonderful game, chess retains a toehold in the mass culture, and a few people are able to make a living (or part of a living) from the game they love.

I do agree the current system is not likely to produce a large crop of elite players, and I also agree we could probably devise a system better calculated, in theory, to give such a result. But is the public ready to engage with a chess training program that demands significantly more effort and long-term dedication from American or U.K. youth and their parents? I think not—at least not till that next compelling chess figure emerges to inspire others to emulation. In the meantime, we are all waiting for the next Bobby Fischer to arrive and transform the scene, which is much the same as waiting for Godot.

Tim Hanke

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Changing Bad Habits

A major issue on the road to improvement is in changing bad habits. Chess is not the only sphere in which this is a problem as this article shows. And the proposed solution (specifying ways in which the new habit differs from the old one) seems very good.

How can chess players use this? Well the first issue is in identifying a flawed technique, no easy matter in a game as complex as chess. But let’s suppose that someone manages this (probably by taking lessons from a strong and insightful player) they should then consciously list comparisons between the old habit and the new one that they wish to acquire. For many club players it would look something like this:

Old Way

  • Look for a tactical idea.
  • Try to calculate whether or not the tactical idea works.
  • If it doesn’t work, look for the missing element that would make it work.
  • If the opponent stops it, look for a new tactical idea.

New Way

  • Look at the pawn structure in an effort to understand what the plan should be.
  • Place the pieces in a way that will help the implementation of this plan.
  • Use tactics and calculation to make sure that the strategic operations are tactically sound.
  • If the opponent prevents the implementation of the plan, reexamine the pawn structure to see what the next step should be.

The major difference between these two ways of thinking is in letting pawn structure considerations take the lead rather than being a vague afterthought. But knowing this is just the start of the process of change, it needs to be reinforced over an extended period of time.

Here anyway is a Youtube video showing that I’m not alone in this idea. One must gently redirect one’s attention:

Nigel Davies

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Move Two! Chapter 5

You will be relieved to hear that this week’s article will be mercifully short as I’m in the middle of a domestic crisis. My electricity has failed so at present I have minimal power and no internet access at home. It may also be a few days before I’m able to reply to any comments on here.

Anyway, we’ve now reached Chapter 5 of Move Two!, entitled Mating Combinations.

Knowing the basic checkmate patterns is vital for any aspiring chess player. Of course, you’ll only get most of these positions in your games a few times in your life, but you still need to know them. For every one occasion a position like this happens there will be several others where it happens ‘in the notes’. You put your pieces in place but your opponent sees it coming a long way off and prevents it. Beyond that, though, learning these patterns teaches the student a lot about how different pieces work together. Pattern recognition is one of the keys to chess success, and these are just some of the patterns you need to know.

This also reinforces the idea that you need to look at every check. Beginners often choose a move simply ‘because it’s check’, which is not in itself a good reason. A good reason is ‘because it’s mate’ or ‘because it leads to mate’, and this brings us back to Chapter 1 and learning how to look ahead.

Regular practice at solving both checkmate and material winning puzzles is something that all chess teachers should encourage.

Within the confines of Move Two! there’s only room for a few examples. For books which go into this topic in far more detail I’d recommend the classic The Art of the Checkmate by Renaud and Kahn, or the more recent How to Beat Your Dad at Chess by Murray Chandler (great book and great title – I wish I’d got there first – but the two have nothing to do with each other). There’s also a wide choice of books and websites for those who want to improve their checkmating, tactics and calculation skills.

There then follows a quiz with ten more examples of standard checkmate patterns for the reader to solve.

The Activities section introduces the open variation of the Giuoco Piano. Readers are invited to try this out for themselves, writing down their moves, before moving onto the next chapter (and a future article for Nigel’s blog) in which they’ll be introduced to some of the theory of the opening.

Finally, Masters of the Universe takes up the history of the world championship in 1921, where Lasker lost to the hero of this chapter, the great José Raul Capablanca. Students have a chance to play Guess the Moves with this game:

Capa, of course, was a famous prodigy, as was Sammy Reshevsky, the other star of this chapter. We look at one of his early games, played in a simul in Berlin. Sammy, needless to say, was the player giving the simul.

Richard James

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Lessons from Losses

Each month, we have an Academic Chess tournament in which the program’s students compete with one another to test out their chess skills. While my older students are off playing in the upper divisions, I work with the youngest players, serving as an arbiter. Parents and teachers alike have commented that this is the most difficult group to manage during a tournament because the children’s chess skills are still developing. This means that mistakes are made and the situation must be rectified carefully and considerately. While this would seem simple enough, we have to add an additional factor to add to the equation, emotions. Young children can often burst into tears when losing a game, which is why I keep a box of tissue and a funny story close at hand. I try to meet with all the younger players who have had the hardest time at the tournament during their breaks. After a few well placed tissues and a funny story or two, we talk about the lessons to be learned from our losses.

We live in a society in which winning is placed on a pedestal. Some over eager parents teach their children that winners go on to greatness which can imply that those that don’t win fall into the void of mediocrity. Some parents live vicariously through their children, rewriting personal history often at their child’s expense. Society places a premium on winning that can spoil a child’s love of chess if that child doesn’t approach losing in the right way. Therefore, my students are taught to look at a lost game as an opportunity to improve, a lesson to be learned. There are no losers when you take this approach.

The first thing I do with my young students is to teach them the language of chess, algebraic notation (covered in a previous article). Once the students are able to accurately record their games we move on to game analysis. It should be said that it takes a fair amount of time and maturity to analyze chess games. However, starting students off early helps the development of this important chess habit. While our game analysis is extremely basic, it allows young beginners to discover where they went wrong, avoiding making the same mistake in future games.

Beginner’s analysis starts by breaking a game down into its three phases, the opening, middle and endgame, and reviewing each phase’s goals. I have my students use a pencil and paper to jot down notes about each move. We start with the opening. Our goal during the opening is to develop our pieces to active squares that set up our middle game. The opening game analysis is simple: Does each move made during the opening conform to one or more of our opening principles? If a student starts the game with 1.e4, I ask that student to list the opening principles that apply to this move. The principles that apply include, controlling the board’s center with a pawn, allowing the King-side Bishop and the Queen access to the board via the vacated e2 square which (in the case of the Bishop) allows for minor piece development. Minor piece development early on means early castling (King safety and Rook development). With each subsequent move we continue our list. 2.Nf3 allows minor piece development to an active square and preparation for castling (and so on). We continue the process for both players (white and black) for the next few weeks. Often, students find that one of their opening moves is the culprit that leads to the snowball effect. Let me explain this idea.

In theory (or my active imagination), if you take a fist sized ball of snow and roll it down a snow covered mountain, that snowball will gather snow, growing in size until it is a huge unstoppable mass mowing down everything in its path. In chess, a bad move can have a similar effect, making a position worse and worse until the game is hopelessly lost. A bad move can allow your opponent to build up positional momentum, with the opposition pieces mowing down everything in their path. Anyone who has played chess has probably been on the receiving end of the snowball effect. Therefore, if you can find where you went wrong, you can stop the snowball effect in future games.

The opening isn’t the only place a single move can lead to disaster. It can happen in the middle or endgame as well. When analyzing the middle game, beginners might not be able to analyze subtle positional moves but they can see when an attempted attack falls apart. I have my students answer the question, why did your attack fall apart? Students count attackers and defenders to see if they were simply outnumbered during their attack (or defense). They also look at the squares they left undefended when launching their attack. By moving a pawn or piece, did that pawn or piece lose its control over a critical square or squares? In short, my students learn to become chess detectives, looking for clues that led to their losses. I tend to use the “chess detective” analogy because it can turn the examination of a painfully lost game into a fun game of its own.

When examining the endgame, I have to remind myself that these are very young students who don’t know the finer points of endgame play because their games more often than not end in early checkmates. Therefore, I try to keep the analysis simple. The questions my students ask include the following: Did I make any silly checks such as chasing the opposing King around the board with a lone Rook while yelling “check?” Was my King an active participant in the endgame action or did it sit on the sidelines watching the action? When moving my pawns towards their promotion squares, did I sufficiently protect them with the King or other pieces? Did I remember to keep the Kings in opposition when trying to promote a lone pawn?

Obviously, there are hundreds of questions that a chess player must ask during a post mortem. However, the students I work with are extremely young and are just being introduced to game analysis. As they become better chess detectives, they’ll ask more questions. Of course, many of my students don’t realize that we analyze games during each class. When I present a game to my students, we talk about each move (analysis). Even though my students are young, I ask them what they think about the move in question. My chess detectives put on their imaginary Sherlock Holmes hats and go to work. Here’s a game to ponder. There is no commentary. Instead, I ask that you try a bit of basic game analysis and see if there’s a move that may have started the snowball effect. Enjoy!

Hugh Patterson

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How to Find Chess Novelties? (Part 2)

As a child I studied the classics. One of my favorite ones was the game Erich Eliskases vs Ernst Grünfeld of the Mährisch Ostrau tournament in 1933.


This kind of sacrifice on f5 is now very normal and chessplayers frequently do it. Even Russian Grandmaster Anton Shomoev uses it in the following game, producing a novelty.


Robert M. Cuadros
May 2013

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¿Cómo Encontrar Novedades en Ajedrez? (Parte 2)

En mi niñez estudié los clásicos. Uno de mis favoritos fue la partida Erich Eliskases vs Ernst Grünfeld del torneo de Mährisch Ostrau en 1933.


Este tipo de sacrificio en f5 es ahora bastante normal y los ajedrecistas lo realizan con frecuencia. Incluso el Gran Maestro ruso Anton Shomoev lo usa en la siguiente partida, produciendo una novedad.


Robert M. Cuadros
Mayo de 2013

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