Copyright (c) 2013 John L. Jerz

Chess Fundamentals (Capablanca, 1921, 1934)

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Review by  Dr. J. Sarfati (Brisbane, Queensland Australia) 

Capablanca is widely regarded as one of the all-time great chess players, and possibly the greatest natural chess genius in history. His games were the greatest influence on modern great world champions Bobby Fischer and Anatoly Karpov. Mikhail Botvinnik (three times world champ) also related how much he learned from Capablanca, and even pointed out that Alekhine received much schooling from him in positional play, before the struggle for the world title made them bitter foes.
Capa's famous book is designed for players who know the moves and elementary tactics. It is ideal for helping players keen to improve, and was my first non-beginner's book.
Capablanca stresses the importance of learning the endgames first, and he was renowned for his great strength in this area.
Capa's book has good lessons about middlegame attacks -- the need to attack 'en masse' as Capa said, or as modern US GM Yasser Seirawan put it, 'inviting everyone to the party'. Capa also pointed out the the bishop was generally better than the knight, but queen + knight were often better than queen + bishop. According to Botvinnik, Capa was the first with this insight.
Capa's book also gives common-sense opening principles.
This book is very old now, and chess has developed tremendously. But most of this book has stood the test of time, especially for its intended audience.
Chess teachers take note -- your pupils can't afford to skip this book!

preface In chess the tactics may change but the strategic fundamental principles are always the same, so that Chess Fundamentals is as good now [1934, when the preface to this current edition was written] as it was thirteen years ago [when initially published in 1921]. It will be as good a hundred years from now; as long in fact as the laws and rules of the game remain what they are at present. The reader may therefore go over the contents of the book with the assurance that there is in it everything he needs, and that there is nothing to be added and nothing to be changed.
 
p.3 The first thing a student should do, is to familiarise himself with the power of the pieces.
 
p.24 It will be seen that all the combinations shown [in previous examples] have for a foundation the proper co-ordination of the pieces, which have all been brought to bear against a weak point.
 
p.28-29 The control of the centre is of great importance. No violent attack can succeed without controlling at least two of these squares, and possibly three.
 
p.82 Failing an opportunity, in the second case, for direct attack, one must attempt to increase whatever weakness there may be in the opponent's position; or, if there is none, one or more must be created. It is always an advantage to threaten something, but such threats must be carried into effect only if something is to be gained immediately. For, holding the threat in hand, forces the opponent to provide against its execution and to keep material in readiness to meet it. Thus he may more easily overlook, or be unable to parry, a thrust at another point. But once the threat is carried into effect, it exists no longer, and your opponent can devote his attention to his own schemes.
 
p.94 Very often in a game a master only plays to cut off, so to speak, one of the pieces from the scene of actual conflict. Often a Bishop or a Knight is completely put out of action. In such cases we might say that from that moment the game is won, because for all practical purposes there will be one more piece on one side than on the other.
 
p.114 keep harassing the enemy; force him to use his big pieces to defend Pawns. If he has a weak point, try to make it weaker, or create another weakness somewhere else and his position will collapse sooner or later. If he has a weakness, and he can get rid of it, make sure that you create another weakness somewhere else.
 
p.138 Keep freedom of manoeuvre while hampering your opponent.

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