A new book on the Classical Sicilian by Yermolinsky is out. This is a new series called Chess Explained. Did someone read this book?. Gambit Chess publication: Chess Explained: The Classical Sicilian – Alex Yermolinsky. Classical Sicilian, 2nd Edition; Anthony Kosten; ChessBase CD Chess Explained: The Classical Sicilian; Alex Yermolinsky; pages;.
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First issue 17th September After the rundown in column 74, let me begin to tackle some opening books and disks. I’ll start with two products on the same subject, and do the same in the next column. The Classical Sicilianwhich first appeared in At almost the same time, Alex Yermolinsky’s book Chess Explained: The Classical Sicilian appeared.
These products, both excellent, are radically different in format and content, and complement each other in their coverage. The Classical Sicilian is arrived at by 1 e4 c5 2 Nf3 Nc6 Kosten uses the traditional ChessBase opening CD format, which I prefer to most of the training DVDs because they contain so much well-organized scilian information.
He employs 27 ‘texts’ containing links to over games; of those, over have notes.
A ‘text’ is a rundown of variations and subvariations with verbal assessments along the way; a text might have, for example, links to 30 games. This is a chess e-book at its best.
Yermolinsky’s book is part of Gambit’s new ‘Chess Explained’ series, in which the author uses a small number of pages to present 25 annotated games which are meant to illustrate the opening and indicate which variations are the most appealing or interesting.
The author emphasises common motifs, themes, and features of typically-arising positions. Yermolinsky uses only 4 of his own complete games in spite of his extensive use of the Classical Variation for over 3 decades I find 30 of his games in MegaBase He says that the majority of his games would be older, and that using too many of them ‘would skew the book toward my personal taste.
In the interest of teaching about openings, he ‘went for shorter games or at least ones that were basically decided before the endgame was reached. The insufficient representation of the endgame may shift the statistics in White’s favour and might be viewed as a shortcoming of this work.
Alex Yermolinsky – Wikipedia
Furthermore, short games are generally more entertaining, at least to the typical reader with a short attention span! Yermolinsky’s book and Kosten’s CD complement each other in many ways.
First of all and most importantly, Yermolinsky’s book features the Rauzer Variation 6 Bg5 with 63 pages above the other lines 45 pages. This is consistent with his view that the Rauzer is the most dangerous anti-Classical variation. Kosten doesn’t deal with the Rauzer at all which is left for a future CDbut gives extremely detailed attention to siciliian other, equally important, main lines 6 Be 3, 6 f46 f36 Be2and 6 Bc4 and several sidelines.
He concentrates upon variations in which Black plays Sicllian sections on 6 Be2 e5 could fill a small book. Nevertheless, this is a comprehensive treatment of the Classical Sicilian rather than a repertoire, so we also get an extremely detailed section on 6 Be3 Ng4and he supplements 6 f3 e5 with several annotated games with 6 f3 Nxd4 and 6 f3 Qb6.
Here as so often Black’s first moves are very flexible; notice that after 6 f3Black can also opt for the English Attack option The main exception to the Typically, that claim is supplemented with a host of games.
Yermolinsky in general shows variations from both points of view, but versus 6 Bc4 he annotates complete games with only Qb6 and specifically recommends that move. Thus, while the book isn’t strictly written from Black’s point of view, we often see a germolinsky tendency for him to emphasise what he thinks are Black’s best or at least most practical choices.
Having said that, Yermolinsky doesn’t siciljan things over: Both authors are unafraid to back lesser-known moves, for example, 6 Bc4 Qb6 7 Ndb5 Bg4!? Furthermore, they touch upon interesting sidelines. Versus the same 6 Bc4for clqssical, we see Rxc3, whereas Kosten finds a game with the more promising 8 g4 h6 9 h4. Apart from the fact that their subject matter overlaps to form a whole, the two authors complement each other in their approaches.
Kosten’s is a relatively complete record. He offers multitudinous games and indicates which specific lines he thinks are good and bad. You will find far more in Kosten about moves such as 6 g36 Nxc6siciluan 6 h3 to which he gives an exceptional Yermolinsky’s is a more impressionistic overview, with plenty of detail on the line that he’s discussing especially 6 Bg5but a limited choice of material to examine.
His jermolinsky is on characteristic themes with occasional philosophic excursions. Yermolinsky is an extremely good writer with a charming way of presenting his thoughts in a humorous conversational manner, and he is arguably an even better teacher both qualities are evident in his acclaimed book The Road to Jermolinsky Improvement.
Can the average player adopt this opening without going into hibernation for a year? Kosten says that he is surprised to learn that so little of the basic underlying theory has changed over classsical past six years.
The Classical Sicilian
The dates of the games that Yermolinsky has chosen for his examples suggest the same thing; he might even extend that period to 10 years or so. Such stability speaks well for the average player who wants to use the Classical Variation without having to keep track of many recent developments. For that reason alone you might be tempted to give the Classical a try. I strongly recommend these products, both as starting points and advanced guides.
Viacheslav Eingorn’s Creative Chess Opening Preparation is an eclectic romp through openings by one of the most interesting of modern theoreticians, who also happens to be a strong grandmaster. Among other things, he tries to give the reader a sense of how to prepare openings and find new ideas.
Eingorn has been responsible for bringing many odd-looking openings into the mainstream and finding completely original moves in the most innocent of positions.
Here are the Chapter titles and sample sections names: Experiments in the Opening [e. Disturbing the Equilibrium [e. The Modern Game of Chess [e. A School and it’s Crisis] 6. A Theoretical Kaleidoscope [e.
The Classical Sicilian – Sicilian Opening – openings – Books/Media – Schachversand Niggemann
I wish that I had perused this book prior to my recent work on various French Defence lines, because it includes games classiacl variations that I write about extensively, for example, 1 e4 e6 2 d4 d5 3 Nd2and now As I confirm there, Eingorn had a strong hand in developing theory with all of these seemingly unusual moves.
In the past, I have also recommended and taught the Queen’s Gambit variation 1 d4 d4 2 c4 dxc4 3 Nf3 Nf6 4 e3 e6 5 Bxc4 c5 6 yermoliinsky 7 Bd3 flassical, a sequence I called the yermollinsky Variation’ due to his advocacy. Among the many other openings that he addresses in this book are: Bg7 5 Nf3 6 a3 or, as he says, more accurately 5 a3 6 Nf3. I do think that he might have given more credit to other sources.
The overlap with Jeroen Bosch’s Secrets of Opening Surprises series is extensive, to say the least, and it’s disappointing that Eingorn didn’t mention or cite those books. He also devotes a section to various lines with an early g4, which he calls claesical ‘Symbol of Chess Progress’.
This is something I talked about at length in my two earlier strategy books for the same publisher; in fact, it has become a popular topic that has been written about in many books and articles, employing the very same examples that I used. Eingorn is a modernist through and through, and doesn’t believe that the problems of chess are solved by any means. He clearly feels that the game is more wide open to change than has been assumed.
Here’s a brief illustrative excerpt from Creative Chess Opening Preparation:. Big things, as they say, are visible from a distance, and it is always much easier to reflect on the ‘good old days’ than sidilian evaluate contemporary phenomena. So we shall not do so – we shall ywrmolinsky discuss various matters which in my own view are interesting. The discovery and study of various chess principles led inevitably siciloan the thought of embracing them in a general theory, with a view to answering that hallowed question: The opening of the game, of course, was what people were chiefly talking classocal.
The old patterns of opening strategy were revised, after which the game of chess came genuinely close to the realm of science or art. As to that paramount riddle which had been posed, the efforts to solve it were highly reminiscent of medieval alchemists seeking the philosopher’s stone; yet it was thanks to these efforts that such crucial positional concepts as the centre, the pawn-structure, the relative strength of the pieces, and many others, became yerolinsky stock-in-trade of every chess-player.
On the other hand, the classjcal theory soon revealed a major shortcoming: In practice this often led to curious results. This is a fun book, with easy-to-absorb opening ideas. Its virtues are enhanced by Eingorn’s enjoyable writing style. He also incorporates far more philosophic content than we are used to in a yyermolinsky about openings.
Leaving that for you to investigate, I will strongly recommend this entertaining read. It is very rarely yermoolinsky by grandmasters and as far as I know has not been used by a top-ten player in the past 50 years, although there was an ‘accidental’ Morra when Fischer played 1 e4 c5 2 Nf3 a6 3 d4 cxd4 4 c3 dxc3 5 Nxc3 against Korchnoi in Buenos Airessoon transposing to a known line.
The key questions here are whether this variation should be so rare and whether it is a practical weapon for the average or even master player. Although I haven’t looked at previous Morra books in detail, Langrock’s book must be the best of the lot by a good margin. It is clearly a tremendous effort with loads of new suggestions at every turn.
To introduce the opening, he begins with a discussion of practical and psychological aspects of the Morra, the argument being that White benefits from its attacking nature.
A brief section follows on strategies and tactical motifs. But the heart of the book is in the games and variations. I could only check a couple of chapters, but I was surprised to see that the ‘Chicago Variation’ was playable for Black. It begins with 1. Ra7 soon to follow, intending Rd7 in most lines. Then he shows remarkable objectivity when, in spite of his siciluan advocacy yermollinsky White in the Morra, he doesn’t stop at that point, but analyses the less common Ra7 zicilian, using his own games and analysis to conclude that Black is ‘OK from a theoretical point of view’, with sharp play and chances for both sides.
The Finegold defence features Be7 or even their originally ‘recommended’ order Be7 7 Nf6 8 Qe2 a6.