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    Modern Ideas in Chess
    Modern Ideas in Chess
    Modern Ideas in Chess
    Ebook375 pages2 hours

    Modern Ideas in Chess

    By Richard Reti

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    About this ebook

    Richard Reti was a formidable over the board grandmaster as shown by his victories at the splendid tournaments of Kaschau 1918, Gothenburg 1920 and Teplitz Schonau 1922. His victims included Capablanca, Alekhine and Nimzowitsch, while his elegant destruction of Bogolyubov deservedly won the beauty prize at New York 1924.
    LanguageEnglish
    PublisherRussell Enterprises, Inc.
    Release dateMar 4, 2015
    ISBN9781888690781
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      Book preview

      Modern Ideas in Chess - Richard Reti

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      Chapter 1

      The Development of Positional Play

      1. Combination

      We perceive after a careful consideration of the evolution of the chess mind that such evolution has gone on, in general, in a way quite similar to that in which it goes on with the individual chess player, only with the latter more rapidly.

      The earliest books on the game as played today go back no further than to the commencement of modern times. They are written by masters of that period, and, from the beautiful combinations contained in them, we recognize, quite distinctly, the chess talent of the particular authors.

      But on the whole they were groping in the dark, for the gross and glaring errors that occur in those works lead us to the conclusion that to obtain an accurate grasp of a position, or sight of the board, meant as much trouble to the experienced player of that time as it does to the beginner of today.

      A chess player in his early stages, who for the first time plays over the games of those masters, experiences unbounded delight in the combinations to be found in them, more especially those involving sacrifices. The other parts of the game seem to have but little interest for him.

      On these lines chess was played until the middle of the 19th century, practically until Morphy appeared upon the scene. (An exception, was the great Chess Philosopher, A. D. Philidor [d. 1795] who was too much in advance of his time to be properly understood.) During that period, quite at the beginning of the game a player tried to work out combinations quickly, with the conviction that they were much the most valuable factors in the game.

      The chess hero of that epoch, with whose name, for most players, is associated the first grasp of the limitless beauties of our game, was Adolph Anderssen (1818-1879). One of his most beautiful and best known combinations is the following:

      Anderssen vs. Dufresne

      Berlin 1852

      Anderssen, quite undisturbed by the threat of his opponent against his king’s position, plays a deeply considered preparatory move

      19.Rad1

      Dufresne accepted the gift from the Greeks without any foreboding.

      19 ...     Q×f3

      20.R×e7+     N×e7

      21.Q×d7+     K×d7

      22.Bf5+

      If 22...Kc6, mate follows by 23. Bd7.

      22 ...     Ke8

      23.Bd7+

      And mate follows next move with B×e7.

      Still prettier would the ending have been had Black played 20...Kd8,

      Analysis after 20...Kd8

      instead of 20...N×e7. We would then have had 21. R×d7+ Kc8 22. Rd8+!. A surprising turn in events. The rook can be taken in three different ways –

      Analysis after 22. Rd8+

      If 22...R×d8 then 23. g×f3. If 22...K×d8 then 23. Be2+ wins the black queen. 22...N×d8 23. Qd7+ K×d7 24. Bf5+.

      Analysis after 24. Bf5+

      And mate next move.

      If we ask ourselves what there is in this particular combination, or, for a matter, in any combination, that compels out admiration, the reply will be that in the game just quoted it is the quiet inconspicuous introductory move (19. Radl) which just by reason of its inconspicuousness operates with such great charm.

      A strong and more strikingly attacking move could have been made without any regard as to what was to follow. But it is the choice by Anderssen of the less obvious move, whose meaning only becomes clear later on, that forces us to the appreciation of the deep working of his brain.

      It is the same with a sacrifice. A combination composed of a sacrifice has a more immediate effect upon the person playing over the game in which it occurs than another combination, because the apparent senselessness of the sacrifice is a convincing proof of the design of the player offering it.

      Hence it comes that the risk of material, and the victory of the weaker material over the stronger material, gives the impression of a symbol of the mastery of mind over matter.

      Now we see wherein lies the pleasure to be derived from a chess combination. It lies in the feeling that a human mind is behind the game dominating the inanimate pieces with which the game is carried on, and giving them the breath of

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