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PYYVTET How to win in the chess openings by LA.Horowitz three-time United States Open Champion eit tian How to Win IN THE CHESS OPENINGS BY I, A. Horowitz CORNERSTONE LIBRARY: NEW YORK ALT. RIGHTS RESERVED INCLUDING THE RIGHT OF REPRODUCTION IN WHOLE OR EN PART IN ANY FORM COFYRIGUT, 1951, BY 1 A. HOROWITZ REPRINTED, 1961 THIS NEW CORNFRSTONE LIBRARY EDITION 1§ PUBLISHED BY ARRANGEVERT WILE DAVID MC KAY €0., INC, AND IS A COMPLETE AND UNABRIDGED REPRINT OF ‘THE ORIGINAL HARDCOVER EDITION, CORNERSTONE LIRRARY PERLICATIONS ARF DISTRIBUTED BY AFFILIATED PUBLISHERS, INC. ROCKEFELLER CENTER, 630 FIFTH AVENUE, NEW YORK, N. ¥. MANUFACTURED IN ‘CHE UNITED STATES OF AMERICA @ 9 19, M4 (. Contents . Principles of Opening Play Exceptions to the First Principle Giueco Piano cues mow: Unlucky Seven camss movin: Second Feature: Murder at Kz Ruy Lopez cHESs MovIF: The Great Fall Ruy Lopez—I'he Open Defense CHESS Movie: Attack on the Guard Ruy Lopez—The Steinivz System curs movin: Death of “the Black Death” French Defense—Classical Variation cHEss Movie: King Pawn Unc: King Pawn None! French Defense—Winawer Variation cHess movie: The Squirm Will Turn French Delense—Tarrasch Variation chess Movie: Capa Gomes a Gropper Sicilian Vefense—The Modern Dragon Variation cHEss MoviE: Clash of Champions! Queen's Gambit Declined chess Movi: Move Clismacteric . Rei Opening—A Flypermodern Opening GHESS MovIE: Keady for the stéui? Knglish Opening- Another Mypermodern Opening cues Movie: Threats in Ail Discctions Alekhine’s Defense—Hypermodernism in Defense CHESS Movi: Old Wham in New Battles Center Counter Defense HESS MOVIE: Counter Countered Foreword Eoste since the frst game of chess was recorded~about five hun- dred years ago or more—no less thin twenty thousand chess books, written in different langnages, have appeared in print. Conse- quently, every phase of the game has heen considered. Yet here is another book... . Why? In delving through muititudinous works on chess openings, I have come 0 the conclusion that only cne thing is clear. And that is that ati is quiet confusion! The reasler is reqnited to memorize an opening by tate, is occasionally told via the symbol of an exclama: tion point or question mark that a move is good, bad or indifferent, and then i lel hanging, as it were, in mid air to reason our for himself the whys and wherefores. What part each move plays in the strategic concept of the opening pattern is lightly glosed over or not mentioned at all Under the circumstances, there hay been room for improvement. In this book, I have, thereiore, endeavored to present the study of chess openings in a logical, casy-to-understand canner, not beyond the grasp of the player who has learned little more than the rales of chess. To begin with, I have outlined and discussed the principles and concepts of opening play, common to all openings, Then, in turn, 1 have taken specifically, each of the most popular openings— attacks and defenses and have broken them down to their indi vidual roves and grand pluts, [ have tried ta show how the tactical forte of each move ties up with che surategical idea. Lastly, I have appended to each opening a glassic, over-the-board, example from actual play in “movie” style. For those unfamiliar with the term “chess movie." I wish to point out that it is no more han a chess game, recorded by a series of diagrams. The numerous diagrams make for clarity as well as case of study. For the “movie” obviates the use of a chessboard and men, as the game can be followed from the text. In closing. I wish to give a word of caution: gaming an advantage in the opening brings victory in che endgame, 1 must confess, how. ever, that the cule has given me a pang of conscience, What I really oughe to call the book is “How to Understand the Chess Openings.” Most piayers, however, are not interested in understanding; they only wart to win. Hence the title. It is clear that with understanding will come many victories, I. A, Hoxowirz The original position from which the opening springs is the most difficult of the entire game. For here thirty-two potent units are animated and unleash a vast power. Principles of Opening Play Tre game of chess is divided into three parts~the opening, the middle game and the endgame. ‘the divisions are purely uebitrary, merely for the purpose of facilitating study. No di- viding line separates the parts; the transition from the opening to the middle game and from the middle game to the endgame is indicated by the action and the number of men remaining ‘on the board, ‘The opening covers approximately the first twelye moves of the game, with all or most of the picccs on the beard. The middle game is characterized generally by the presence of 6 HOW TO WIN IN THE CHESS OPENINGS Queens; the endgame is greatly simplified, with few of the forces remaining ‘The opening is a development of forces. Tt begins with the first moye and ends with the mobilization of nearly all of the men. The Rooks, as a rule, are the last to enter the skirmish, and often do uot participate in the play until well inte the middle game. TYPICAL OPENING POSITIONS Queen's Gambit Declined with Giuocy Piano— White's Rooks Rooks developed. nat yet moved. Ultimate Goal vs. Opening Goal Tu order to understand the mechanics of the opening, necessary to know the opening goal. While checkmate is the principal goal of the game, it is subordinated in the apening, since the pieces are just beginning to get out. Of course, if the opponent plays very badly, or exposes his King critically or neglects his development glaringly, then checkmating ideas come to the forefront. With reasonably correct play by both contestants, lesser objectives are the goal. These all tie in with the prime purpose—checkmate of the opponent's King. Check mate is the ultimate goal. Try for Small Advontages ‘Opening play can coutrilute towards the checkmating goal in a minor way, Essentially, it can do so by Jaying a sound foundation for the middle and endgame; by gaining small po- PRINCIPLES OF OPENING PLAY 7 TKAMPLES OF RATIONAL AND IRRATIONAL DEVELOPMENT Lok Oe Uae] ay Ye Boy Eo MR 2) LORE © ea a (AES Ray T.spez—Rational development on both sides. Check- male is a consideration fur in the future, . . N-B6 mate. sitional i material advantages. Many small advantages add ge plus, a sound foundation and what are the sinall advantages? The answers to these questions shed light on the function of opening moves. Asound foundation is one which is free of structural weaknesses, weaknesses which require attention or which under- value anything built upon them, As the foundation pertains only to Pawns, the subject is better treated in a discussion of the endgame. Insofar as the foundation affects the opening, however, a limited discussion will appcar later on, More to the point is the question of small advantages. What are they? There ure two types of advantage in chess, One is positional ; the other material. Positional advantage is the plus which derives from the ability to control squares, vital for immediate or future action, as well as trom the sounder Pawn structure. Superior mobilily and commiand of greater terrain augment the advantage. Control of the Center While the opening is concerned with every conceivable advantage, omphasis is gouerally placed on the control of impor- tg HOW TO WIN IN THE CHESS OPENINGS EXAMPLES OF POSITIONAL ADVANTAGE Roy Be pate 2 ze, ae ro) hs Bluck is a piece to the good. He lacks the time, however, to stave olf mate. Ea Black's backward King Bawa is a vulnerable target. Soon jueen-sile Pawns are not © Whito will attack it again self-supporting. and again. tant squarcs. In the absence of outright biunders ceding ma~ terial, the initial goal is the gain of squares. There are 64 squares on the chessboard. Half are white and half are black. Except for color distinction, to all appearances they are very such alike, Yet same squares are tore valuable than others, Which are the more important squares and why? As indicated on the diagram, the squares in the center of the board are the more inyportant ones, The reason they are more important becomes apparent when the squares are considered in terms of a network of interlinked paths, It is clear PRINCIPLES OF OPENING PLAY 9 that the player who controls the hub of the network can send his men from one side of the board, directly through the hub, to the other side of the board with case. Whereas the player who does not control the hub must send his men from one side of the board to the other via devious routes, time-consuming The jrost important squares are tae very caitermust (ia black). Otker squares toper off in importance as indicated ‘on diagram above. rontes, As time is an important factor in chess—that is, as it is iupurtint to reach a goal in the least number of moves—it follows that ‘t is important to control the central squares. Coutrol of the central squares is the primary positional advantage sought for in the opening, Tt enhances the player's mo- hilty and operating space to the detriment of the oppovent, Usploitation of structural weaknesses pertaining to Pawns is a nade Tater liny objective vf the opening, These will be covered om, Gain of Material ‘The gain of squares is a gain of ground over which the thesmen may move. Even more important, however, is the