The author’s aim in this volume is to improve the tournament chess player and professional alike in their ability to evaluate and execute crucial and hard-fought practical endgames – either in converting a winning position or holding a draw. This book will also sharpen the player’s overall cognitive competences in practical situations, where the normal laws of endgame theory have little or no value. Dreev accomplishes this by providing categorized and detailed examples with clear commentary from his own tournament games, as well as from other Grandmasters’ at the elite level.
Throughout the book I have tried not only to look for variations where there is always life and winning chances for Black, but also to offer decent continuations, not just say that ‘Black has counterplay’, when he might clearly be worse, which is the case in some books. The work presented here is designed for every player willing to improve his or her general understanding of the Dutch Defense, especially of the Leningrad Variation, with both colors. It provides a full repertoire for Black not only against 1.d4, but also against 1.c4 and 1.Nf3. I believe that the material offered here can help players from club level to GM level, and I hope you will enjoy reading it as much I did writing it!
Aron Nimzowitsch wrote that studying the middlegame in chess means studying typical positions. Typical positions means typical pawn structures, and studying pawn structures means studying strategy. Middlegame strategy literature is rather poor. We have worked hard trying to provide the best possible material with different colleagues: Isolani Strategy by Alexander Beliavsky/Adrian Mikhalchishin/Oleg Stetsko, Hanging Pawns by Adrian Mikhalchishin, and The Center by Adrian Mikhalchishin/Georg Mohr. Other important books were written by Sergey Shipov, with his two-volume The Complete Hedgehog, and Ivan Sokolov, with his series Chess Middlegame Strategies. So, here is another try at researching typical plans. The authors, both long-term chess trainers, decided to research ideas that are important in the Maroczy structure for both sides. The Maroczy structure was played by such greats as Bobby Fischer, Tigran Petrosian, Bent Larsen and many others. We would like to present this topic in a slightly different way. Chess players and also trainers usually do not think as deeply as they should in order to achieve better results. We would like to present ideas for both White and Black and this book is written without any bias as to colour.
Chess has very strict, but also fairly simple, rules: rapid development, control of the center with pawns or pieces, timely castling and defense of the king, the creation of various weaknesses in the opponent’s position, attacking those weaknesses, and control of open lines. At the same time a player shouldn’t get his queen stuck in the enemy camp, or ruin his own pawn structure. Those who know these rules will succeed. It is necessary for a chess player to know opening and endgame theory, standard combinations and motifs, as well as pawn structures and many other things. A lot of the topics listed demand a very straightforward type of thinking or approach. However it also happens that chess players often discover significant resources which formally exist outside the typical rules of chess. Those who know how to break all the rules and work around those specific guidelines reach the very top. Currently, when thousands of chess books dissect the same standard ideas in great detail, let us remember that first there were those who originally discovered them, implemented them, and made them standard, as well as those who broke the rules and created completely new ones.
The Colle-Zukertort is a deep independent opening in its own right, but is also very flexible. Transpositions to the Queen’s Indian or Slav are often possible. The simplicity of placing the bishop on d3, a knight on e5 and following up with f4 and Rf3 with checkmating prospects is very tempting. Underneath it all though, it is way more than that simplified idea. It is filled with rich positional possibilities and nuances that one should be aware of. I have tried to show as many aspects as possible, pointing out exactly the relevant details and knowledge that are normally only accessible to strong positional players, such as Kramnik. This opening is for fans of classical chess. I wanted to present chess in the “old” style, before players had access to engines to help them with their play and understanding. Before engines, players such as Colle and Zukertort created and innovated to such an extent that we still use their ideas today. I wanted to use this approach, to remind readers that this style of chess still exists.
How does one achieve the unique ‘sound’ and distinct technique that are absolutely necessary to become successful at the highest level? It can only be done via a deep understanding of the chess player’s personality and the unique talent that distinguishes him from other soloists. It is here that the role of a coach is of the utmost importance. First, it is necessary to understand the nature of your student’s chess talent, and second, it is important to identify the player’s character and personality traits. His style ought to be harmonious, so that the essence of the human being matches the characteristics of his chess talent. Since it is the same emotionless computer that is now in charge of the purely chess component, it falls upon the coach to deal with the chess player’s personality, mysterious and unknowable as it might be. Yes, a lot depends on the number and power of dependable cyber assistants, on the size and quality of various chess databases, on the enthusiasm of the seconds and on the ability to work with modern electronic gadgets, but at the highest level, almost all elite chess players have the same tools at their disposal. Thus, as always, everything is decided — as in the ‘good old days’ — by the player's talent, by his unique ability to create. The coach's task is to help his student develop this unique creative side to the maximum. It has so happened that in recent years I have been able to work closely with great chess talents who were at the same time outstanding personalities. I hope that an inside look at this kind of work will be of interest to both specialists and chess fans. I faced several ethical problems when working on this book. Many of the chess players who appear in these pages are still young; their whole life, including their sports career, lies ahead. That is why I tried to avoid purely personal details and did not reveal any professional secrets. I hope that these players, like me, will be curious to reflect on their own achievements and mistakes, and to take the reader on the difficult journey that allowed them to become prominent chess personalities.
This work was originally envisioned as a single-volume collection of my most memorable games, annotated by me, à la Bobby Fischer's My 60 Memorable Games. However the more I delved into the past, the more things started to rise up from the recesses of my memory, which, along with deeper analysis and more detailed introductions to the games, made it more like an anthology of chess stories. Thankfully, my gracious editors decided to split the work into two volumes. What you are going to find in this first volume is a selection of my most memorable battles on the chessboard during the first of two different periods. It covers the time from my arrival in the USA as an up-and-coming young talent in early 1989, acquiring the freedom to play in any open tournament in the world and quickly gaining precious experience to grow into a challenger for the World Championship in 1996. This period ended with my early retirement from the game to pursue other goals in life.
Here we are, together on this page, both interested in the French Defence with 3.Nc3 Bb4. Before telling you what you can learn from this opening, let me tell you a little story about my journey in the French. I started playing the French after reading John Watson’s Play the French, which improved my play a lot. I learned that the French is a positional yet concrete opening, and many of my young opponents couldn’t grasp its subtleties. Moreover, many opponents were far less prepared against 1...e6 than against 1...c5 or 1...e5. Unfortunately those days would end. During the 2008 Dutch Youth Championships (U20), I understood that everyone would throw 7.Qg4 in the Winawer at me. In that respect, my opening preparation was simple: I’d study the Winawer for Black very intensively and the problem would be solved. In reality, I faced many difficulties. Novelties I’d find in the evenings were promptly refuted by the engine the next morning; I was constantly thinking about the French, but I couldn’t quite make it work. There was this strange, inexplicable feeling in my stomach, some might call “butterflies”. I had fallen in love with a chess line! Despite my two losses in the crucial games, I still believed I had a great repertoire with countless novelties to show for it.
This book is about the practical approach to the game of chess. It shaped me as a player and now I would like to share my philosophy with you. My objective is to combat several generally accepted misconceptions, such as a) only studying opening theory will make you a better player, b) one should always follow the first or second line shown by Komodo or Stockfish, and finally, c) that “in theory” is equivalent to “over the board”. The last fallacy is especially dangerous because it implies that players will keep on making the best moves over the board, and therefore sidelines should never be played as the opponent will always find a way to retain and convert the advantage. That is in theory. In practice, however, many players will feel like fish out of water once they end up in a position that is objectively better for them but one that they have never analyzed. Overall, based on my experience as a chess professional, I strongly believe that the above-mentioned fallacies do not hold true empirically, The book is divided into four parts. Part I covers sidelines in the mainstream openings where I take a major opening and analyze one or several sidelines. This is the most theoretical part of the book, where I share a significant amount of original thoughts and analyses that constitute my opening repertoire. Part II discusses the concept that I refer to as systems. It still involves theory, but less so in comparison to Part I. What I am trying to convey in this part is the “schematic thinking” – where you think in terms of plans and typical ideas. Part III takes one step further in abstraction – it analyzes notable modern games where one player showed ambition early on in the game and it worked out well for him. Part IV covers the so-called “early surprises” where early on in the game a player implemented a move that shocked his opponent.
For the purpose of writing this book I decided to look at all the games Veselin has played from 1995 until the present, as there were many I didn’t know! I must say that, although seeing great moves from a 2800 player sounds normal, it was impossible not to be astonished by some of his games. Topalov is one of the kings of practical decisions in chess. He regards chess as more a sport than a science. If he thinks an idea will work over the board, the notion of risk is irrelevant to him. He wants to be on the attack and believes an objectively inferior position isn’t necessarily bad if his opponent needs to find several difficult defensive moves. “If that’s the only move for my opponent, let’s enter the line and see if he sees it!” is his philosophy. He never liked peace over the board or routine play. The moments where he has refused to repeat moves or has sacrificed something strictly out of intuition are countless. In short, Topalov’s aim has always been to hit hard and bring his own touch to the game, and I think he has succeeded!
I am not seeking glory with this book, but I certainly had to have a book in tactics! That’s the main idea of the book; to be a companion for trainers and players who seek improvement — simple but effective! The names of the mates are not important. What’s crucial is understanding and subconsciously memorising these patterns in order to recognise when they’re about to occur in a player’s own games. These mating patterns are not confined to chess problems and puzzles. As will be shown, they occur in the games of Grandmasters and even World Champions, past and present! They belong to everybody’s games, even beginners’! Each mate’s theoretical pattern is presented as a diagram, with constructed examples and actual games. It is suggested that students set-up and play through these mates from the losers’ viewpoint as well. Most difficult of all is recognising patterns when they occur horizontally (i.e., rotated 90 degrees) from the normal orientation. The key to each pattern is the status of the squares surrounding the king: which ones are obstructed, which are potential flight squares that can be controlled with the available pieces. Players are advised to know these patterns forwards, backwards and upside down!