For many chess-players, opening study is pure hard work. It is difficult to know what is important and what is not, and when specific knowledge is vital, or when a more general understanding is sufficient. Tragically once the opening is over, a player is puzzled what plan to follow, or even understand why his pieces are on the squares on which they sit. Our author GM Dariusz Swiercz, continued in the second Volume of his series, and explains in a methodological way how to solve these issues when White proceeds with 3.Nf3 and g3. He picked some aggressive options with the Ragozin and brings the ever popular Catalan to a stand still. Any chess player being Black would be much interested to find out how Dariusz decided on his final choices. We are convinced you won't be disappointed with his second and final volume of this series.
In this book, the first to focus on these issues, Steve Giddins provides common-sense guidance on one of the perennial problems facing chess-players. He tackles questions such as: whether to play main lines, offbeat openings or 'universal' systems; how to avoid being 'move-ordered'; how to use computers; if and when to depart from or change your repertoire. Giddins argues that from novice to grandmaster, a player's basic task when choosing a repertoire is the same: he needs to select openings that suit his playing style and that he can play with confidence. The repertoire should not require more memory work and study than he is capable of, or has time for. The book is rounded off with a look at the use of 'role models' and an investigation of the repertoires of leading players past and present.
Playing as Black in a game of chess can be difficult. Do you simply try to neutralize White's initiative, or go all-out to complicate the game? Either way, there are many pitfalls, and a lot of study may be needed. In this book, Grandmaster Eingorn shows that it is possible both to play solidly, and to take White out of his comfort zone. He recommends ideas and move-orders that are a little off the beaten track, but which he has very carefully worked out over many years of his own practice. The repertoire, based on playing 1...e6, is strikingly creative and will appeal to those who want a stress-free life as Black. You will get every chance to demonstrate your chess skills, and are very unlikely to be blown off the board by a sharp prepared line. All you need is a flexible approach, and a willingness to try out new structures and ideas. Eingorn's subtle move-orders are particularly effective if White refuses to pick up the gauntlet, as Black can then use his delay in playing ...Nf6 to good effect and take the fight directly to his opponent.
One of the important issues players face - both relatively inexperienced ones at the beginning of their career as well as seasoned ones as they realize their chess craves change - is choosing an opening repertoire. As a player and a coach, I have seen many approaches to this question, both remarkable and mistaken. Some players believe that the opening is something to ignore, that everything is decided in the middlegame. Others think that studying opening traps is what wins games.Some tend to follow their favorite world-class player''s recommendations, while others like to sidestep well-known opening theory early on, preferring unpopular side-lines.To me, opening choice is about all those decisions. I think that many openings are good; there are some dubious ones, but they can also yield formidable results overall or in specific situations if chosen and handled carefully. I firmly believe that your opening repertoire should mostly be based on your playing style and other personal traits, such as memory and work ethic. It is important to evaluate yourself as well as your strengths and weaknesses properly in order to be able to build the right repertoire that would not only suit you well, but also improve your overall chess.The little detail, though, is in the word "mostly". Namely, I firmly believe that there are a few classical, rock-solid openings with an impeccable reputation, such as 1.e4 e5 as a response to 1.e4 or the Queen''s Gambit and Nimzo as an answer to 1.d4 that players of all styles and standards should try, no matter what their style is. This will enable players to learn, appreciate and practice some of the key chess values, such as the importance of space, lack of weaknesses, bad pieces, and comfortable development and so on - you name it. I, myself, started out as a keen Sicilian player. Just like all youngsters, I cheerfully enjoyed complications, tactical massacres and everything else that the Sicilian is all about. However, as I was developing as a player, my style was changing also. Eventually, I realized I was much more successful with positional play, so it was time to change the outfit - and 1.e4 e5 suited me well. I have used this move as a response to 1.e4 nearly exclusively in recent years, both versus weaker and stronger opposition, with fantastic results. If only other openings would grant me such results as well! I have not only studied these variations myself but have also shown them to numerous private students. To be frank, we have almost always concentrated on White''s most dangerous possibilities, such as the Ruy Lopez, Italian and Scotch. Occasionally, we have also analysed the side-lines - either as a part of preparation for specific opponents or to make sure my students become more universal players and gain more all-round knowledge. Eventually, I realized that the knowledge I gained from 1.e4 e5 can and should be shared with more players, and this is how my book came to life. Of course, the readers will differ, so there is a no "one-size-fits-all" solution. But, I have carefully and diligently tried to achieve the same goal I used when working with my students: to keep my recommendations both theoretically sound as well as practical and accessible. I expect not only titled players but club players and the less experienced readers to equally benefit from this book. So, sometimes you will find razor-sharp novelties, but in many cases, we will rely on positional understanding, typical structures and standard ideas. I believe the opening is not all about memorization, so I have taken a different approach from many authors by keeping the balance between recommending objectively good variations as well as making sure an adequate amount of work will suffice to get you started. You won''t need to spend years studying the material, fearing there is still much more to learn. 1.e4 e5! is not just an opening. It is repertoire that represents our game as a whole. It is something players of all styles will enjoy due to the countless possibilities 1...e5 provides. Hopefully, learning 1...e5 will also make you a better player. And, finally, I hope the book you are now holding in your hands will not only give you joy but illustrate a passion for chess with the variations presented in this work.
The Ruy Lopez is one of the most popular openings of all time. It is a frequent guest in the games of players around the world from novice to Grandmaster. As a result of the increased power of analysis engines the theory of the Ruy Lopez has greatly expanded. Lines that did not exist years ago have been fully developed, supported with extensive analysis, and incorporated into the repertories of top players. Despite this exponential growth in theory, I believe that when armed with sound knowledge it is possible to pose certain practical problems for Black. The purpose of this book is to provide you with detailed and clear explanations of the intricacies of the Ruy Lopez.
This book presents a comprehensive, ready-to-use, and high-quality repertoire for Black against 1.e4. With meticulous analysis and in-depth explanations, the author demonstrates how the Caro-Kann Defense can be used successfully by players of any level. He also draws on his experience and on his trove of novel ideas to present a new take on the Caro-Kann: one that emphasizes Black's dynamic options while maintaining a solid and flexible setup.
