12. Réti Opening - A HYPERMODERN OPENING

During the past few decades, brand new ideas have de­veloped in opening play. The fight for control of the center —the paramount issue in modern openings—has been given a new twist. A new school of thought has been born. Whereas, in the modern school, the skirmish waxes openly and merrily for domination of the mid-section of the playing field from the very first move, in the new school—the hypermodern school—the contest for center control takes the form of long distance, sniping, wing attacks on the opposing center.

The modernist will not give ground in the center. The hypermodernist, on the other hand, will permit, induce or even provoke his opponent into taking early control of the center. This seems rather strange. For, if it is important to control the center—and the modernist and the hypermodernist agree that it is—why should the ne plus ultra school of thought deliberately present to the adversary what is so valuable? The reasons for this, even though apparently obscure, are really pointed. What the hypermodernist really grants to the opponent is the occupation o£ the center. The occupied field then sets up as a ready target. And the hypermodernist shoots., His long-term plan is to demolish the occupied enemy field and take over the vital terrain, while he is still strong and the opposing center is in shambles.

This is the new idea. And Réti's opening is part and parcel of it.

The opening begins with 1 N-KB3, attributed to Zukertort for popularizing it. 1 N-KB3 is recorded in Lopez, 1561, and the first known game wherein it was essayed was dated 1845.

The Réti arises as follows:

1 N-KB3 . . . .

The first move, of itself, does not have any exemplary significance; it is purely noncommittal and may transpose into the regular lines of the Queen's Pawn Game. White's second move, in conjunction with the first, gives the opening the hypermodern turn. This is called the Réti, after the late grandmaster, Richard Réti, one of the disciples of the hyper-modern school.

The hypermodern idea, like all ideas, is excellent—when it succeeds. When it fails because the opponent has been pre­sented with the center and all it portends, the hypermodernist is left in a sorry state.

The development of the Knight on the first move does not, of itself, indicate what course White will pursue. It might be a prelude to the Queen's Pawn Opening or even a King's Pawn game, in some contingencies. Insofar as White's inten­tion is momentarily concealed, the move is meritorious. On purely theoretical grounds, the move is also good. The Knight strikes at two important central squares, Q4 and K5.

1           . . . . P-Q4

At this point and later on, the order of moves lends itself to transpositions. For instance, Black might also play 1 . . . N-KB3. Or he might begin with 2 . . . P-K3 or 1 . . . P-QB4. In the latter cases, White may choose to convert the opening into the French Defense or the Sicilian Defense by playing 2 P-K4. Insofar as Black's Pawn at Q4 strikes at two important squares, K5 and QB5, the move is good.

2           P-B4 . . . .

The move which characterizes the Réti. It is a direct assault against Black's staunch Queen Pawn.

2 . . . . P-QB3

Defending the Queen Pawn and maintaining Pawn sym­metry, if White should exchange. At this point, Black again has a choice of replies:

(1) 2 . . . PxP. For an effective counter-pattern. The line might run as follows: 2 . . . PxP; 3 N-R3, P-QB4; 4 NxP, N-QB3; 5 P-KN3, P-B3; 6 B-N2, P-K4; 7 P-Q3, B-K3; 8 O-O, KN-K2; 9 KN-Q2, N-Q4. Black maintains a strong grip on the center with excellent prospects.

Observe that Black does not capture the Pawn with a view to retaining it. With correct play, it is not possible to hold the Pawn. Moreover, an attempt to hold it weakens the Black position.

After 2 . . . PxP, however, White may continue with 3 P-K3 and lead into the Queen's Gambit Accepted, thus: 3 . . . N-KB3; 4 BxP, P-K3; 5 O-O, P-B4; 6 P-Q4. In this line, opinion favors White.

1. 2 . . . P-Q5. To establish a bridgehead in enemy territory. This variation is in line with White's plan of inducing occupation of the center so that the occupied field will set up as a target. It is double-edged, however. For, if Black can successfully maintain the advanced Pawn, White will be cramped. If the bridgehead and its props can be battered down, however, White will gain the advantage. The line might run as follows: 2 ... P-Q5; 3 P-K3, P-QB4; 4 PxP, PxP; 5 P-KN3, N-QB3; 6 B-N2, P-KN3; 7 P-Q3, B-N2; 8 O-O, P-K4; 9 R-Kl, P-B3. Although White enjoys a Queen-side Pawn majority, Black's position is freer, and Black can maintain the bridgehead.
2. 2 . . . P-K3. The routine, neutral development. The line might run as follows: 3 P-KN3, N-KB3; 4 B-N2, B-Q3; 5 P-N3, O-O; 6 O-O, QN-Q2; 7 B-N2, P-B3; 8 P-Q4, N-K5; 9 QN-Q2, P-KB4; 10 NxN, BPxN; 11 N-Kl, N-B3; 12 P-B3, B-Q2; 13 PxKP, NxP, with about even chances.3 P-QN3 . . . .

To defend the unguarded Bishop Pawn, which is now in danger of being captured. At the same time, the move makes way for the fìanchetto of the Queen Bishop—the hypermodern idea of eyeing the center from the wings.

3 . . . . N-B3

A good developing move which strikes at the center. 4 P-N3 . . . .

Making ready for the fianchetto of the King Bishop—also in line with the hypermodern idea of bearing down on the center from a distance. The pressure which the White Bishops will exercise on the bias is the highlight of the over-all plan.

4 . . . .B-B4

In the Queen Pawn openings, Black, as a rule, is saddled with the "problem Bishop." For the Queen Bishop is tied down to guarding Black's Queen Knight Pawn. So long as White does not have ready access to Black's Queen Knight Pawn—the usual method is Q-N3 for White—there is no reason not to develop the Queen Bishop. Hence it is brought out before Black locks the diagonal with . . . P-K3. Now the Bishop will participate in the play, actively.

5           B-KN2 QN-Q2

Bringing out additional force and intending 6 . . . P-K4.

6           B-N2 . . . .

Preventing the opposing . . . P-K4 and dominating White’s K5 via long distance

6. . . . P-K3

Black must content himself with moving the King Pawn one square for the present. Should he play 6 . . . Q-B2, with the idea of playing the Pawn up two squares, he will find that his Queen is misplaced, after a few moves. White will soon place his Queen Rook with telling effect on QB1 and this will be the equivalent of an indirect frontal assault on the Queen. White is also at liberty to play his Queen Pawn to Q4 and prevent Black from playing . . . P-K4. This, how­ever, is out of the spirit of the hypermodem opening. More­over, it cedes Black's K5 to Black.

7           O-O . . . .

Continuing the development.

7           . . . . B-Q3

To prepare for . . . P-K4 and also to allow for a good square for Black's Queen at K2. That is why the text move is superior to . . . B-K2. At K2, Black's Queen cannot be mo­lested.

8           P-Q3 . . . .

White also prepares for P-K4. The text move is the first step.

8           . . . . O-O!

Because of technical reasons, 8 . . . P-K4 would expedite White's reply of P-K4. Thus, if 8 . . . P-K4; 9 P-K4, and Black dare not win a Pawn with 9 . . . PxKP; 10 PxP, NxP, for 11 N-R4 will win a piece for White.

9           QN-Q2 . . . .

Continuing the development and reinforcing the K4 square for the eventual P-K4.

Now Black has occupied the center. Black's center Pawns are supposed to set up as a target—according to hypermod-ern theory. Unfortunately, however, they do not. For it is difficult for White to put additional force against the opposing center.

10 PxP . . . .

In order to open the Queen Bishop file for use by White's Queen Rook.

10 . . . . 11 R-B1 PxP Q-K2

Black's development seems to be sound.

A game Réti—Emanuel Lasker, New York, 1924, con­tinued as follows: 12 R-B2, P-QR4; 13 P-QR4, P-R3; 14 Q-Rl, KR-K1; 15 KR-B1, B-R2; 16 N-B1, N-B4.

Réti then sacrificed the exchange with 17 RxN but did not obtain sufficient compensation.

Conclusions

The Réti system has infused new life into opening play. When first introduced, it met with remarkable success, mainly because adequate parrying, defensive formations were un­known. At present, there is no known way which leads to an advantage for White. Moreover, Black enjoys more latitude in this system than against the usual Queen Pawn Game.

Chess Movie

READY FOR THE RETI?

When pure ideas clash, only a fine line separates success from failure. Here grandmaster Kashdan is the hypermod-ernist against the modernist Horowitz, in the USCF Open of Philadelphia, 1936. The game begins with 1 N-KB3, P-Q4; 2 P-B4, P-Q5; 3 P-KN3, P-QB4; 4 B-N2, N-QB3; 5 O-O, P-K4 (see diagram No. 1).

1

 Black has usurped the center, with White's knowledge and consent. The question arises, is the center field a ready target? There follows 6 P-K4, B-N5; 7 P-KR3, B-K3; 8 P-Q3, P-B3. To all appearances, Black's wedge-shaped Pawn forma­tion is secure. But White has his own ideas.

2

 Kashdan plays 9 N-R3. He intends to swing the Knight to B2 and concentrate on a break at his QN4—The first step in un­dermining the Pawn array. Then comes 9 ... Q-Q2; 10 K-R2, P-KN4; 11 N-B2, P-KR4. Black's target is White's King. A bit of speculation is involved.

3
 White retreats 12 N-Nl, and Black follows with 12 . . . KN-K2. The Knight is headed for the vicinity of the White King. There follows 13 B-Q2, lining up on QN4. Black replies 13 . . . N-N3. Now comes 14 P-R3, B-N5. Black wishes to force open a file leading to the opposing monarch.

4

 White captures 25 PxB, and Black recaptures 15 . . . `PxPch. Now White closes the file by re­turning a piece with 16 N-R3. White prefers a slow, peace­ful game, where he can de­molish the opposing center in good time. Black has other ideas. 16 . . . N-B5 is the move, and it poses difficult problems.

5

 White has little choice. He captures the Knight with 17 PxN, and then comes 17 . . . KPxP; J8 P-B3, PxN; 19 B-Rl, N-K4; 20 Q-K2, B-Q3; 21 R-KN1, O-O-O. The battle waxes furi­ous. Black is a piece behind, but with two Pawns to the good and a powerful attack. Can White survive?

6

 White attempts a diver­sion with 22 P-N4. Black parries with 22 . . . P-N3, and White con­tinues with 23 P-R4. There follows 23 . . . QR-N1; 24 P-R5, P-N5. Each player is racing to get in heavy blows against the hostile King. And right now it looks like a toss-up. It is White's turn.

7

 The fast-moving action places both players on the alert. White plays 25 BxP, and the game contin­ues 25 ... NxPch; 26 BxN, BxBch; 27 K-Rl, P-N6; 28 RxP, RxR. Now Black is the exchange to the good. But he must reckon with White's as­sault; his own seems stymied. Can he contain the counter­attack?

8

 White opens the line of his own Rook's battery with 29 RPxP, and Black ignores the apparent danger by playing 29 ... KR-N1. Now White captures 30 PxRP. For a moment it ap­pears that all is over. A new Queen is the menace. Black captures, however, 30 . . . QxP, and the scene changes.

9

 The Queen is immune from capture on ac­count of mate! Now White combines to simplify the position. He plays 31 B-N4ch, and there follows 31 . . . R/6xB; 32 QxRch, RxQ; 33 RxQ. After all, material is even. But White is in a mat­ing net. Black plays 33 . . . R-N7 and draws the net tight­er.

10

White retreats his un-I V guarded Knight: 34 N-Kl, and there follows 34 . . . R-KB7, closing in. White plays 35 K-Nl and Black counters with 35 . . . P-R7ch, pinning down the monarch. White captures 36 KxR, and Black plays 36 . . . P-R8(Q). The game is over. The Queen decides.

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