Artikelnummer
LOVARQGA
Autor
Queen's Gambit Accepted
288 Seiten, kartoniert, Schmidt, 1997
Final vergriffen
The exact origin of the Queen's Gambit is lost in the mists of time. But it is a fact that since it first occurred, there have been players who have 'accepted' the gambit, i.e. they capture the c4-pawn. At the beginning this must have often been due to greediness, wanting to gain material advantage. However, chess players soon realised that it was not very fruitful. It was only the 19th, or rather the 20th century, that brought to light more subtle ideas.
The name 'gambit' itself is very interesting. It suggests that one player sets up a gambit and the other accepts it, but this is not true in this case.
The Queen's Gambit is not a real gambit, even if it does have some gambit-variations. This name only stuck because of its similarity to the King's Gambit. The terms 'declined' and 'accepted' bear resemblance to that of the King's Gambit, too. At the beginning the Queen's gambit was no more than a sideline, but as the popularity of 1 d4 increased at the expense of the romantic gambits, its theory developed greatly, and it became a serious opening in its own right just as its 'accepted' variation did.
The idea of the Gambit
To quote Panov:
'Although Black captures the c4-pawn, he does not want to cling to it. An attempt like this would lead to defeat. The idea of the opening is that Black temporarily gives up the centre to White, at the same time he quickly finishes his development, and organises a counter-attack on White's centre pawn.'
Of course, this statement is so concise that it can only contain generalisations. However, even this brief characterisation makes it clear that the QGA is often closer to some Indian openings than the Queen's Gambit itself. (Just think about the Grunfeld Indian Defence, where Black has not got a centre pawn either.)
Whereas in the classical Queen's Gambit exchanging the d5-pawn is a doctrine (Black is generally very reluctant to exchange it), here he starts with this exchange. The idea is old, but nevertheless entirely modern: Black controls the squares in the centre with pieces instead of pawns.
The defence is flexible, as the second player has not committed himself to a fixed pawn structure. Still, at important turning points it is usually White that sets the course, which is a drawback.
The QGA is a root opening. Why?
Well, the majority of chess players cultivate the Queen's Gambit or some other closed openings with 1 c4 or 1 Nf3 The former cannot avoid the move 2... dxc4, but even the latter may encounter variations from the QGA with some transpositions. On the other hand, this opening is popular with Black too. This is partly because it is good, and partly because it makes the fight against 1 d4 and other closed openings a bit more simple. (There is less to learn!)
A brief overview of the QGA, two doctrines.
We have already mentioned that the QGA is as old as the Queen's Gambit, but subtleties were introduced only much later. One of the most significant pioneers was the first world-champion, Steinitz. In spite of this, masters were a bit suspicious about the early capture for a long time, and the opening usually turned up in a somewhat hidden form in tournament practice, such as 1 d4 d5 2 c4 e6 3 Nf3 Nf6 4 Nc3 dxc4 etc.
The first doctrine: is it permitted to capture on c4 only after Bd3?
One doctrine for the masters playing the classical Queen's Gambit was that, only by winning a tempo, taking the c4-pawn was to follow the move with the white KB. In the 1920s this idea somehow grew out of all proportion and became almost ridiculous in the orthodox Queen's Gambit. White dragged his feet with moves like a2-a3 and h2-h3, but would not move his Bishop. This generally accepted doctrine made it difficult for the QGA to become widespread for a long time.
Few players realised at that time that this 'heretic' capture has some advantages, namely that it enables Black to develop his Queen's side quickly. It was only in the 1920s and 1930s that accepting the gambit in its original form started to become popular. And this popularity has not diminished ever since. It has been the theme of several matches of the world-championship since the 1934 Alekhine - Bogoljubov match.
The second doctrine.
The idea that 3 Nf3 was a must after 2 c4 dxc4 was a long-held, nearly superstitious belief, which developed in the 1920s-30s and lasted for 50 years. The old teaching hammered into everyone that after a 'dubious' 2 e3 or 2 e4 Black immediately gets rid of all problems with 3... e5 That is why the obligatory start of the battle was 2 c4 dxc4 3 4 Nf3 Nf6 5 e3 in the QGA for decades. This doctrine survived more or less up to the 1980s, but then it started to fall apart rapidly. It was mainly the old fashioned 3 e4 that became popular again, but other nearly forgotten weapons appeared on the scene as well. Even an expert can get a bit confused if he is asked which the real main line is in the QGA today. Theoretical monographs still deal with the classical main lines to a disproportionate extent, whereas chess players in the tournament halls favour something else. What can that be?
The most popular variations
The Author, sifting through the games played in recent years, has found that the strictly taken modern line (3 e4) and the positional theories that are dealt with in Volume II Chapter 2 (3 Nf3 Nf6 4 e3 e6 5 Bxc4 c5 6 Qe2 a6 7 dxc5 or 6 0-0 a6 7 Bd3; 7 Bd3; 7 b3 etc.) are high on the list in this opening. The Gambit (3 Nf3 Nf6 4 Nc3, Volume I) is also popular, just like the Rubinstein Variation (Volume II) or recently the move 9 a4, which is to be found in Volume II, Chapter 7.
The Author was inspired by all this to reorganise the vast amount of material about the QGA into two volumes. Just for the sake of simplicity, 'Modern variations' is the topic and the title of the first volume, and 'Classical variations' is that of the second (despite the titles, both volumes contain last century material as well as modem, fashionable variations). The two volumes are linked together in many ways, and thanks to the wise decision of the publisher they are published in one book.
What kind of variations are there in Volume I?
First of all, all the variations are here in which White does not play 3 Nf3 The formerly neglected move 3 e3 is like this (Chapter 1). It may lead to the classical lines if certain pitfalls (... Bg4) are avoided. This often happens like this, so usually only 3... e5 has a specific character. Because of its popularity, the continuation 3 e4 and the numerous answers to it are dealt with in three chapters, which are called 'Modern variations' (Chapters 2-4). The play bears an open character in this line, just think of the continuation 3... e5 4 Nf3 exd4, which reminds us of a gambit in a romantic style. 3 e4 is clearly an exciting part of the QGA nowadays, but 3... Nf6,3... Nc6 and 3... c5 all give good chances for the defence.
This volume deals with all the lines where, although the move Nf3 is played, later the play differs from the classical main lines. One of them is in Chapter 5, where Black does not play 3... Nf6 after 3 Nf3, but for instance 3 Nf3 c5 4 d5 e6, which is very popular.
The early Queen play (3 Nf3 Nf6 4 Qa4+) used to be the weapon of lazy chess players. Today even this line has got a detailed theory, which may be due to the fact that it can also develop from the Slav defence 4... c6 (Chapters 6 and 7).
Finally, the old idea: the Gambit (3 Nf3 Nf6 4 Nc3!? Chapters 8-10), which was favoured by Marshall at the turn of the century, and is still favoured by a great many players today. Its theory is vast, and it is one of the most menacing weapons against the QGA. Thus the modern lines are the main stream rather than sidelines nowadays. We would mislead the Reader if we tried to make him believe that, with the spreading of modern ideas, the classical main lines - which are a bit arbitrarily interpreted from 3 Nf3 Nf6 4 e3 - are done away with.
What are the contents of Volume II?
It is certain that the classical lines start with 3 Nf3 This move deprives Black of some early tactical chances, such as e7-e5 The move is usually followed by 3... Nf6 4 e3 Strictly speaking, experts consider only the line 4... e6 5 Bxc4 c5 6 0-0 a6 7 Qe2 classical. Let's go through the contents: Alekhine's idea (tying with Bg4) was once popular. This line has two forms, which are usually full of transpositions. It is one of the rare cases when Black decides the style of play. The variation reached its height after the Second World War, but nowadays it is not popular, and is a kind of dormant variation. But be careful: it might wake up!
As we have already mentioned, the most modern variations are to be found in Chapter 2 We have already talked about them, so now we wish to make just one more remark: these are the variations of the present and the future.
Rubinstein's idea (7 a2-a4) stands up to time. This is the only variation that has been fashionable since the first decade of our century, and what is more its popularity has increased during the past twenty years (Chapters 3 and 4). It can be regarded as one of the main lines of the QGA. Its secret lies in the fact that, at the expense of weakening the square b4 and losing the flexibility of the pawn structure on the Queen's side, White significantly restricts Black's activity on that wing. A great deal of theory has accumulated about the variation over the years.
The classical line starting with 7 Qe2 has a vast amount of 'dormant' material. It is something which should be known, even if it turns up rarely nowadays. Black can play the exchange variation against the classical main line (7... cxd4), but the proud main line from the 1930s-40s (7... Nc6) has rather a low reputation these days. It is more flexible to build with Nf6 and Nbd7 However, Black has good chances to even the play with the variation 7 Qe2 b5 8 Bd3 (Chapter 5).
For a long time 8 Bb3 was the main line, the feared weapon against the QGA. Nowadays the only popular line is 8... Bb7 9 a4 (Chapter 6). The once popular 9 Rd1 Nbd7 is 'commemorated' in Chapters 8 and 9 It is true mat the once so dangerous main line has today calmed down into something in which 'the better player wins'. However, it has got a lot of valuable ideas, and it is not by chance that, although rarely, even today world-class players opt for it.
What should we play and what should we avoid playing from the first volume?
3 e3, avoiding some pitfalls, usually leads to the classical lines in Volume 2, with the exception of Black counter-thrust 3... e5 which transposes into the Petrov's opening (!) and gives a correct play for Black.
3 e4 is a dangerous, double edged move demanding a lot of knowledge. If Black is hesitant, White occupies the whole centre immediately. Nonetheless, there are several correct and active moves for the second player.
3 Nf3 is usually followed by 3... Nf6, but if not then 3... c5 or 3... a6 is recommend-able for Black.
3 Nf3 Nf6 4 Qa4+ to a certain extent is against the classical teaching, but it is still playable in practice, although mainly on the principle of 'letting the better win'. Black keeps his chances both after the sharp 4...Nc6 or the positional 4... c6.
Those who like to seize the initiative with White should play the Gambit. Then Black may choose the main lines, but recently some modern lines - with good chances - have developed. An example is 7... Nb6 (Chapter 10).
What should we play and what should we avoid playing from the second volume?
All in all we can state that it is not worth the defence leaving the classical line after 3 Nf3 Nf6 4 e3, as it gives him the best chances. This is because Black can only rarely come off well from leaving the main line.
For White we can recommend the Rubinstein Variation where the tension is high. The positional ideas dealt with in Chapter 2 usually give good chances for White, but the assessment of the position is usually + =. These lines cause the most headaches for the defence. Of course, White's advantage is practical rather than provable with this or that move, because the QGA is a well-based opening, the defence is stable, and White cannot smash it easily anywhere.
What is the character of the QGA?
The variations are often combinative, more often positional, but only very rarely dull, flat or drawish. Even White cannot force an immediate draw if his opponent does not want it.
The illustrative games and the section 'Games without annotation'
There are illustrative games at the end of each chapter. They are to demonstrate the typical motives and the relationship between the opening, middle-game and ending. At the same time the Reader will find a large number of games without annotation at the end of both volumes. These games are in a 'pristine condition' so that the Reader can analyse them by himself. Many of them are very fresh, and were selected for this book just at the last moment. It is good to know that many of the games quoted in the theoretical sections can be found in one of the 'Games without annotation' sections.
A few words about the new revision of the material
As is the case with the majority of authors, the writer of this book, too, would like to demonstrate what is good or bad; what should be played with one colour or the other and what should not. Sometimes he gives his own advice, but more often he quotes famous masters. Today, however, there is a flood of information which spreads so quickly that it is hardly ever possible to say a final word. Euwe's words come to mind: 'In days gone by an opening was played only if it was known to be good; today, however, it is played until it is known to be faulty.' There are innumerable tournaments, and the quality of the play keeps getting higher. Thus the Author has to sift through a vast amount of material. That is why the amount of analysis is usually smaller compared to old books. On the one hand, this gap is filled by the large number of illustrative games and, on the other hand, the Author - in contrast with old books - often puts down his pen only between the 20th - 30th moves. Thus he often penetrates into the maze of the middle-game, sometimes even getting to certain 'few-piece theoretical positions'. It is interesting that contrary to Capablanca's notion this did not sentence chess to death, but rather made it more difficult. In the old days if a sample game proceeded in a calm channel, it was quoted until development was finished. Here, another 6-8 moves are usually given; these moves are generally not obligatory, but they are very informative.
We find it important to emphasise that studying the theory cannot be a mere acceptance, the Reader must work together with the Author. It is no secret that we recommend this book mainly for serious tournament players. Still, we are convinced that browsing through this book will be useful for any advanced chess player, and thanks to the large number of illustrative games, it will be pleasant as well.
Epilogue
There are very few openings like the QGA. Just consider that every world-champion and every famous chess player in the history of chess has cultivated it, and usually with both colours. Some of them, like Steinitz, Alekhine, Euwe and Smyslov have had a special liking for this opening. Can this be just a coincidence? The QGA is flexible, lively, full of surprise turns and well playable. It is a root opening. It is recommendable for Black, and the majority of players with White are simply not able to avoid it. If a chess player wants to be successful, he must study this opening, whether he likes it or not.
This book is the updated, modernised version of the 1993 German edition. The Author put down his pen in 1997. Since the German edition, the popularity of the QGA has increased further. The writer of this book - in his nonsensical conceit - opines that he has also contributed to it in his own humble way. We do hope that the English edition will be as successful as the German one.
Budapest 1997
The Author
Preface to the English edition
The name 'gambit' itself is very interesting. It suggests that one player sets up a gambit and the other accepts it, but this is not true in this case.
The Queen's Gambit is not a real gambit, even if it does have some gambit-variations. This name only stuck because of its similarity to the King's Gambit. The terms 'declined' and 'accepted' bear resemblance to that of the King's Gambit, too. At the beginning the Queen's gambit was no more than a sideline, but as the popularity of 1 d4 increased at the expense of the romantic gambits, its theory developed greatly, and it became a serious opening in its own right just as its 'accepted' variation did.
The idea of the Gambit
To quote Panov:
'Although Black captures the c4-pawn, he does not want to cling to it. An attempt like this would lead to defeat. The idea of the opening is that Black temporarily gives up the centre to White, at the same time he quickly finishes his development, and organises a counter-attack on White's centre pawn.'
Of course, this statement is so concise that it can only contain generalisations. However, even this brief characterisation makes it clear that the QGA is often closer to some Indian openings than the Queen's Gambit itself. (Just think about the Grunfeld Indian Defence, where Black has not got a centre pawn either.)
Whereas in the classical Queen's Gambit exchanging the d5-pawn is a doctrine (Black is generally very reluctant to exchange it), here he starts with this exchange. The idea is old, but nevertheless entirely modern: Black controls the squares in the centre with pieces instead of pawns.
The defence is flexible, as the second player has not committed himself to a fixed pawn structure. Still, at important turning points it is usually White that sets the course, which is a drawback.
The QGA is a root opening. Why?
Well, the majority of chess players cultivate the Queen's Gambit or some other closed openings with 1 c4 or 1 Nf3 The former cannot avoid the move 2... dxc4, but even the latter may encounter variations from the QGA with some transpositions. On the other hand, this opening is popular with Black too. This is partly because it is good, and partly because it makes the fight against 1 d4 and other closed openings a bit more simple. (There is less to learn!)
A brief overview of the QGA, two doctrines.
We have already mentioned that the QGA is as old as the Queen's Gambit, but subtleties were introduced only much later. One of the most significant pioneers was the first world-champion, Steinitz. In spite of this, masters were a bit suspicious about the early capture for a long time, and the opening usually turned up in a somewhat hidden form in tournament practice, such as 1 d4 d5 2 c4 e6 3 Nf3 Nf6 4 Nc3 dxc4 etc.
The first doctrine: is it permitted to capture on c4 only after Bd3?
One doctrine for the masters playing the classical Queen's Gambit was that, only by winning a tempo, taking the c4-pawn was to follow the move with the white KB. In the 1920s this idea somehow grew out of all proportion and became almost ridiculous in the orthodox Queen's Gambit. White dragged his feet with moves like a2-a3 and h2-h3, but would not move his Bishop. This generally accepted doctrine made it difficult for the QGA to become widespread for a long time.
Few players realised at that time that this 'heretic' capture has some advantages, namely that it enables Black to develop his Queen's side quickly. It was only in the 1920s and 1930s that accepting the gambit in its original form started to become popular. And this popularity has not diminished ever since. It has been the theme of several matches of the world-championship since the 1934 Alekhine - Bogoljubov match.
The second doctrine.
The idea that 3 Nf3 was a must after 2 c4 dxc4 was a long-held, nearly superstitious belief, which developed in the 1920s-30s and lasted for 50 years. The old teaching hammered into everyone that after a 'dubious' 2 e3 or 2 e4 Black immediately gets rid of all problems with 3... e5 That is why the obligatory start of the battle was 2 c4 dxc4 3 4 Nf3 Nf6 5 e3 in the QGA for decades. This doctrine survived more or less up to the 1980s, but then it started to fall apart rapidly. It was mainly the old fashioned 3 e4 that became popular again, but other nearly forgotten weapons appeared on the scene as well. Even an expert can get a bit confused if he is asked which the real main line is in the QGA today. Theoretical monographs still deal with the classical main lines to a disproportionate extent, whereas chess players in the tournament halls favour something else. What can that be?
The most popular variations
The Author, sifting through the games played in recent years, has found that the strictly taken modern line (3 e4) and the positional theories that are dealt with in Volume II Chapter 2 (3 Nf3 Nf6 4 e3 e6 5 Bxc4 c5 6 Qe2 a6 7 dxc5 or 6 0-0 a6 7 Bd3; 7 Bd3; 7 b3 etc.) are high on the list in this opening. The Gambit (3 Nf3 Nf6 4 Nc3, Volume I) is also popular, just like the Rubinstein Variation (Volume II) or recently the move 9 a4, which is to be found in Volume II, Chapter 7.
The Author was inspired by all this to reorganise the vast amount of material about the QGA into two volumes. Just for the sake of simplicity, 'Modern variations' is the topic and the title of the first volume, and 'Classical variations' is that of the second (despite the titles, both volumes contain last century material as well as modem, fashionable variations). The two volumes are linked together in many ways, and thanks to the wise decision of the publisher they are published in one book.
What kind of variations are there in Volume I?
First of all, all the variations are here in which White does not play 3 Nf3 The formerly neglected move 3 e3 is like this (Chapter 1). It may lead to the classical lines if certain pitfalls (... Bg4) are avoided. This often happens like this, so usually only 3... e5 has a specific character. Because of its popularity, the continuation 3 e4 and the numerous answers to it are dealt with in three chapters, which are called 'Modern variations' (Chapters 2-4). The play bears an open character in this line, just think of the continuation 3... e5 4 Nf3 exd4, which reminds us of a gambit in a romantic style. 3 e4 is clearly an exciting part of the QGA nowadays, but 3... Nf6,3... Nc6 and 3... c5 all give good chances for the defence.
This volume deals with all the lines where, although the move Nf3 is played, later the play differs from the classical main lines. One of them is in Chapter 5, where Black does not play 3... Nf6 after 3 Nf3, but for instance 3 Nf3 c5 4 d5 e6, which is very popular.
The early Queen play (3 Nf3 Nf6 4 Qa4+) used to be the weapon of lazy chess players. Today even this line has got a detailed theory, which may be due to the fact that it can also develop from the Slav defence 4... c6 (Chapters 6 and 7).
Finally, the old idea: the Gambit (3 Nf3 Nf6 4 Nc3!? Chapters 8-10), which was favoured by Marshall at the turn of the century, and is still favoured by a great many players today. Its theory is vast, and it is one of the most menacing weapons against the QGA. Thus the modern lines are the main stream rather than sidelines nowadays. We would mislead the Reader if we tried to make him believe that, with the spreading of modern ideas, the classical main lines - which are a bit arbitrarily interpreted from 3 Nf3 Nf6 4 e3 - are done away with.
What are the contents of Volume II?
It is certain that the classical lines start with 3 Nf3 This move deprives Black of some early tactical chances, such as e7-e5 The move is usually followed by 3... Nf6 4 e3 Strictly speaking, experts consider only the line 4... e6 5 Bxc4 c5 6 0-0 a6 7 Qe2 classical. Let's go through the contents: Alekhine's idea (tying with Bg4) was once popular. This line has two forms, which are usually full of transpositions. It is one of the rare cases when Black decides the style of play. The variation reached its height after the Second World War, but nowadays it is not popular, and is a kind of dormant variation. But be careful: it might wake up!
As we have already mentioned, the most modern variations are to be found in Chapter 2 We have already talked about them, so now we wish to make just one more remark: these are the variations of the present and the future.
Rubinstein's idea (7 a2-a4) stands up to time. This is the only variation that has been fashionable since the first decade of our century, and what is more its popularity has increased during the past twenty years (Chapters 3 and 4). It can be regarded as one of the main lines of the QGA. Its secret lies in the fact that, at the expense of weakening the square b4 and losing the flexibility of the pawn structure on the Queen's side, White significantly restricts Black's activity on that wing. A great deal of theory has accumulated about the variation over the years.
The classical line starting with 7 Qe2 has a vast amount of 'dormant' material. It is something which should be known, even if it turns up rarely nowadays. Black can play the exchange variation against the classical main line (7... cxd4), but the proud main line from the 1930s-40s (7... Nc6) has rather a low reputation these days. It is more flexible to build with Nf6 and Nbd7 However, Black has good chances to even the play with the variation 7 Qe2 b5 8 Bd3 (Chapter 5).
For a long time 8 Bb3 was the main line, the feared weapon against the QGA. Nowadays the only popular line is 8... Bb7 9 a4 (Chapter 6). The once popular 9 Rd1 Nbd7 is 'commemorated' in Chapters 8 and 9 It is true mat the once so dangerous main line has today calmed down into something in which 'the better player wins'. However, it has got a lot of valuable ideas, and it is not by chance that, although rarely, even today world-class players opt for it.
What should we play and what should we avoid playing from the first volume?
3 e3, avoiding some pitfalls, usually leads to the classical lines in Volume 2, with the exception of Black counter-thrust 3... e5 which transposes into the Petrov's opening (!) and gives a correct play for Black.
3 e4 is a dangerous, double edged move demanding a lot of knowledge. If Black is hesitant, White occupies the whole centre immediately. Nonetheless, there are several correct and active moves for the second player.
3 Nf3 is usually followed by 3... Nf6, but if not then 3... c5 or 3... a6 is recommend-able for Black.
3 Nf3 Nf6 4 Qa4+ to a certain extent is against the classical teaching, but it is still playable in practice, although mainly on the principle of 'letting the better win'. Black keeps his chances both after the sharp 4...Nc6 or the positional 4... c6.
Those who like to seize the initiative with White should play the Gambit. Then Black may choose the main lines, but recently some modern lines - with good chances - have developed. An example is 7... Nb6 (Chapter 10).
What should we play and what should we avoid playing from the second volume?
All in all we can state that it is not worth the defence leaving the classical line after 3 Nf3 Nf6 4 e3, as it gives him the best chances. This is because Black can only rarely come off well from leaving the main line.
For White we can recommend the Rubinstein Variation where the tension is high. The positional ideas dealt with in Chapter 2 usually give good chances for White, but the assessment of the position is usually + =. These lines cause the most headaches for the defence. Of course, White's advantage is practical rather than provable with this or that move, because the QGA is a well-based opening, the defence is stable, and White cannot smash it easily anywhere.
What is the character of the QGA?
The variations are often combinative, more often positional, but only very rarely dull, flat or drawish. Even White cannot force an immediate draw if his opponent does not want it.
The illustrative games and the section 'Games without annotation'
There are illustrative games at the end of each chapter. They are to demonstrate the typical motives and the relationship between the opening, middle-game and ending. At the same time the Reader will find a large number of games without annotation at the end of both volumes. These games are in a 'pristine condition' so that the Reader can analyse them by himself. Many of them are very fresh, and were selected for this book just at the last moment. It is good to know that many of the games quoted in the theoretical sections can be found in one of the 'Games without annotation' sections.
A few words about the new revision of the material
As is the case with the majority of authors, the writer of this book, too, would like to demonstrate what is good or bad; what should be played with one colour or the other and what should not. Sometimes he gives his own advice, but more often he quotes famous masters. Today, however, there is a flood of information which spreads so quickly that it is hardly ever possible to say a final word. Euwe's words come to mind: 'In days gone by an opening was played only if it was known to be good; today, however, it is played until it is known to be faulty.' There are innumerable tournaments, and the quality of the play keeps getting higher. Thus the Author has to sift through a vast amount of material. That is why the amount of analysis is usually smaller compared to old books. On the one hand, this gap is filled by the large number of illustrative games and, on the other hand, the Author - in contrast with old books - often puts down his pen only between the 20th - 30th moves. Thus he often penetrates into the maze of the middle-game, sometimes even getting to certain 'few-piece theoretical positions'. It is interesting that contrary to Capablanca's notion this did not sentence chess to death, but rather made it more difficult. In the old days if a sample game proceeded in a calm channel, it was quoted until development was finished. Here, another 6-8 moves are usually given; these moves are generally not obligatory, but they are very informative.
We find it important to emphasise that studying the theory cannot be a mere acceptance, the Reader must work together with the Author. It is no secret that we recommend this book mainly for serious tournament players. Still, we are convinced that browsing through this book will be useful for any advanced chess player, and thanks to the large number of illustrative games, it will be pleasant as well.
Epilogue
There are very few openings like the QGA. Just consider that every world-champion and every famous chess player in the history of chess has cultivated it, and usually with both colours. Some of them, like Steinitz, Alekhine, Euwe and Smyslov have had a special liking for this opening. Can this be just a coincidence? The QGA is flexible, lively, full of surprise turns and well playable. It is a root opening. It is recommendable for Black, and the majority of players with White are simply not able to avoid it. If a chess player wants to be successful, he must study this opening, whether he likes it or not.
This book is the updated, modernised version of the 1993 German edition. The Author put down his pen in 1997. Since the German edition, the popularity of the QGA has increased further. The writer of this book - in his nonsensical conceit - opines that he has also contributed to it in his own humble way. We do hope that the English edition will be as successful as the German one.
Budapest 1997
The Author
Preface to the English edition
| Gewicht | 340 g |
|---|---|
| Hersteller | Schmidt |
| Breite | 13,9 cm |
| Höhe | 19,7 cm |
| Medium | Buch |
| Erscheinungsjahr | 1997 |
| Autor | Egon Varnusz |
| Sprache | Englisch |
| Seiten | 288 |
| Einband | kartoniert |
QGA I - Modern Variations
003 Introduction
008 Chapter 1: 1 d4 d5 2 c4 dxc4
008 3 Nc3
010 3 e3
021 Chapter 2: 1 d4 d5 2 c4 dxc4 3 e4 Nf6
021 4 e5 Nd5 5 Bxc4
030 4 Nc3
034 Chapter 3: 1. d4 d5 2. c4 dxc4 3 e4 e5 (4 Nc3)
034 4 ...Bb4+
040 4 ...exd4 5 Bxc4 Bb4+
049 Chapter 4: 1. d4 d5 2. c4 dxc4 3 e4 (3 ...Nc6, 3 ...c5)
049 3 ...Nc6
057 3 ...c5 4 d5
067 Chapter 5: 1. d4 d5 2. c4 dxc4 3 Nf3
067 3 ...c5
078 3 ...a6
082 3 ...e6
083 3 ...Nd7
084 3 ...Bg4
088 Chapter 6: 1. d4 d5 2. c4 dxc4 3 Nf3 Nf6 4 Qa4+
088 4 ...Qd7
089 4 ...Nbd7 5 Nc3 e6 6 e4
091 4 ...Nc6
097 Chapter 7: 1. d4 d5 2. c4 dxc4 3 Nf3 Nf6 4 Qa4+ c6 5 Qxc4
097 5 ...Bf5
104 5 ...Bg4
105 5 ...Be6
109 Chapter 8: 1. d4 d5 2. c4 dxc4 3 Nf3 Nf6 4 Nc3
109 4 ...Nd5
110 4 ...Bf5 5 e3 e6 6 Bxc4
111 4 ...Nc6
112 4 ...e6 5 e4 c5 6 Bxc4 cxd4
113 4 ...c5
118 Chapter 9: 1. d4 d5 2. c4 dxc4 3 Nf3 Nf6 4 Nc3 c5 5 d5 e6 6 e4 exd5 7 e5
118 7 ...Ne4
119 7 ...Nfd7
127 Chapter 10: 1. d4 d5 2. c4 dxc4 3 Nf3 Nf6 4 Nc3 a6
127 5 a4 Sc6
129 5 e4 b5 6 e5 Nd5
QGA II - Classical Variation
148 Chapter 1: 1 d4 d5 2 c4 dxc4 3 Nf3
148 3 ...a6 4 e3 Bg4
156 3 ...Nf6 4 e3
172 Chapter 2: 1 d4 d5 2 c4 dxc4 3 e3 e6 5 Bxc4 c5
172 4 Qe2
179 4 0-0
201 Chapter 3: 1. d4 d5 2. c4 dxc4 3 Nf3 Nf6 4 e3 e6 5 Bxc4 c5 6 0-0 a6 7 a4
201 8 ...cxd4 Nc6 9 Nc3 Be7
204 4 ...Nc6
218 Chapter 4: 1. d4 d5 2. c4 dxc4 3 Nf3 Nf6 4 e3 e6 5 Bxc4 c5 6 0-0 a6
7 a4 Nc6 8 Qe2 cxd4 9 Rd1 Be7 10 exd4 0-0 11 Nc3
218 11 ...Nb4
222 11 ...Nd5
230 Chapter 5: 1. d4 d5 2. c4 dxc4 3 Nf3 Nf6 4 e3 e6 5 Bxc4 c5 6 0-0 a6 7 Qe2
230 7 ...cxd4
231 7 ...Nc6
234 7 ...b5 8 Bd3
244 Chapter 6: 1. d4 d5 2. c4 dxc4 3 Nf3 Nf6 4 e3 e6 5 Bxc4 c5 6 0-0 a6
7 Qe2 b5 8 Bb3
244 8 ...Nc6
247 8 ...Bb7 9 a4
257 Chapter 7: 1. d4 d5 2. c4 dxc4 3 Nf3 Nf6 4 e3 e6 5 Bxc4 c5 6 0-0 a6
7 Qe2 b5 8 Bb3 Bb7 9 Rd1
257 9 ...Be7
258 9 ...Nbd7
267 Chapter 8: 1. d4 d5 2. c4 dxc4 3 Nf3 Nf6 4 e3 e6 5 Bxc4 c5 6 0-0 a6
7 Qe2 b5 8 Bb3 Bb7 9 Rd1 Nbd7 10 Nc3
267 10 ...Qb8
270 10 ...Qb6
003 Introduction
008 Chapter 1: 1 d4 d5 2 c4 dxc4
008 3 Nc3
010 3 e3
021 Chapter 2: 1 d4 d5 2 c4 dxc4 3 e4 Nf6
021 4 e5 Nd5 5 Bxc4
030 4 Nc3
034 Chapter 3: 1. d4 d5 2. c4 dxc4 3 e4 e5 (4 Nc3)
034 4 ...Bb4+
040 4 ...exd4 5 Bxc4 Bb4+
049 Chapter 4: 1. d4 d5 2. c4 dxc4 3 e4 (3 ...Nc6, 3 ...c5)
049 3 ...Nc6
057 3 ...c5 4 d5
067 Chapter 5: 1. d4 d5 2. c4 dxc4 3 Nf3
067 3 ...c5
078 3 ...a6
082 3 ...e6
083 3 ...Nd7
084 3 ...Bg4
088 Chapter 6: 1. d4 d5 2. c4 dxc4 3 Nf3 Nf6 4 Qa4+
088 4 ...Qd7
089 4 ...Nbd7 5 Nc3 e6 6 e4
091 4 ...Nc6
097 Chapter 7: 1. d4 d5 2. c4 dxc4 3 Nf3 Nf6 4 Qa4+ c6 5 Qxc4
097 5 ...Bf5
104 5 ...Bg4
105 5 ...Be6
109 Chapter 8: 1. d4 d5 2. c4 dxc4 3 Nf3 Nf6 4 Nc3
109 4 ...Nd5
110 4 ...Bf5 5 e3 e6 6 Bxc4
111 4 ...Nc6
112 4 ...e6 5 e4 c5 6 Bxc4 cxd4
113 4 ...c5
118 Chapter 9: 1. d4 d5 2. c4 dxc4 3 Nf3 Nf6 4 Nc3 c5 5 d5 e6 6 e4 exd5 7 e5
118 7 ...Ne4
119 7 ...Nfd7
127 Chapter 10: 1. d4 d5 2. c4 dxc4 3 Nf3 Nf6 4 Nc3 a6
127 5 a4 Sc6
129 5 e4 b5 6 e5 Nd5
QGA II - Classical Variation
148 Chapter 1: 1 d4 d5 2 c4 dxc4 3 Nf3
148 3 ...a6 4 e3 Bg4
156 3 ...Nf6 4 e3
172 Chapter 2: 1 d4 d5 2 c4 dxc4 3 e3 e6 5 Bxc4 c5
172 4 Qe2
179 4 0-0
201 Chapter 3: 1. d4 d5 2. c4 dxc4 3 Nf3 Nf6 4 e3 e6 5 Bxc4 c5 6 0-0 a6 7 a4
201 8 ...cxd4 Nc6 9 Nc3 Be7
204 4 ...Nc6
218 Chapter 4: 1. d4 d5 2. c4 dxc4 3 Nf3 Nf6 4 e3 e6 5 Bxc4 c5 6 0-0 a6
7 a4 Nc6 8 Qe2 cxd4 9 Rd1 Be7 10 exd4 0-0 11 Nc3
218 11 ...Nb4
222 11 ...Nd5
230 Chapter 5: 1. d4 d5 2. c4 dxc4 3 Nf3 Nf6 4 e3 e6 5 Bxc4 c5 6 0-0 a6 7 Qe2
230 7 ...cxd4
231 7 ...Nc6
234 7 ...b5 8 Bd3
244 Chapter 6: 1. d4 d5 2. c4 dxc4 3 Nf3 Nf6 4 e3 e6 5 Bxc4 c5 6 0-0 a6
7 Qe2 b5 8 Bb3
244 8 ...Nc6
247 8 ...Bb7 9 a4
257 Chapter 7: 1. d4 d5 2. c4 dxc4 3 Nf3 Nf6 4 e3 e6 5 Bxc4 c5 6 0-0 a6
7 Qe2 b5 8 Bb3 Bb7 9 Rd1
257 9 ...Be7
258 9 ...Nbd7
267 Chapter 8: 1. d4 d5 2. c4 dxc4 3 Nf3 Nf6 4 e3 e6 5 Bxc4 c5 6 0-0 a6
7 Qe2 b5 8 Bb3 Bb7 9 Rd1 Nbd7 10 Nc3
267 10 ...Qb8
270 10 ...Qb6
Jeder berühmte Spieler ein QGA-ler?
Der Autor erläutert im Vorwort, das angenommene Damengambit (1. d4 d5 2. c4 dxc4) sei eine Eröffnung wie nur wenige; dank ihrer Flexibilität hätten alle Weltmeister, mehr noch: hätte jeder berühmte Spieler in der Geschichte des Schachs sie angewandt. Ist das glaubhaft? Geboten werden in kleinem, aber klarem Druck alle wichtigen Informationen, wie man es bei Varnusz gewohnt ist.
Stefan Bücker
Der Autor erläutert im Vorwort, das angenommene Damengambit (1. d4 d5 2. c4 dxc4) sei eine Eröffnung wie nur wenige; dank ihrer Flexibilität hätten alle Weltmeister, mehr noch: hätte jeder berühmte Spieler in der Geschichte des Schachs sie angewandt. Ist das glaubhaft? Geboten werden in kleinem, aber klarem Druck alle wichtigen Informationen, wie man es bei Varnusz gewohnt ist.
Stefan Bücker