T • time pressure, time trouble or zeitnot: Having very little time on ones clock (especially less than five minutes) to complete ones remaining moves. See Time control. • touched piece rule/touch move rule: The rule requiring a player who touches a piece that has at least one legal move to move that piece (and, if the player moves the piece to a particular square and takes her hand off it, to move it to that square). Castling must be initiated by moving the king first, so a player who touches his rook may be required to move it, without castling. The rule also requires a player who touches an opponents piece to capture it if possible. A player wishing to touch a piece to adjust its position on a square without being required to move it signals this intent by saying Jadoube or I adjust. • Transposition: Arriving at a position using a different sequence of moves. • trébuchet: a position of mutual zugzwang in which either player would lose if it is his turn to move. • triangulation: A technique used in king and pawn endgames (less commonly seen with other pieces) to lose a tempo and gain the opposition. U underpromotion: Promoting a pawn to a rook, bishop, or knight instead of a queen. Rarely seen unless the knight can deliver a crucial check, or promotion to a rook instead of a queen is necessary to avoid stalemate. V Variation: An opening strategy that is a subset of another. For an example, see the Dragon Variation of the Sicilian Defense. W weak square: A square that cannot be easily defended from attack by an opponent. Often a weak square is unable to be defended by pawns (a hole). Exchange or loss of a bishop may make all squares of that bishops color weak resulting in a weak square complex on the light squares or the dark squares. • White: the designation for the player who moves first, even though the corresponding pieces, referred to as the white pieces, are sometimes literally some other (usually light) color. • White squares: the 32 light-colored squares on the chessboard, such as (in algebraic notation) h1 and a8. • Win/winning position: a position is said to be a win (or a winning position) if one specified side, with correct play, can eventually force a checkmate against any defence (i.e. perfect defence). • Wing Gambit: is the name given to the branches of several openings in which one player gambits a wing pawn, usually the b pawn X X-ray attack: The threat of a piece to move through a square presently occupied by an enemy piece. Z Zeitnot (from the German): see Time pressure above. • Zugzwang (from the German): When a player is put at a disadvantage by having to make a move; where any legal move weakens the position. Usually occurs in the endgame, and rarely in the middlegame. • Zwischenzug (from the German): An in-between move played before the expected reply. Often used to force the opponent into Zugzwang. In general I consider that in chess everything rests on tactics. If one thinks of strategy as a block of marble, then tactics are the chisel with which a master operates, in creating works of chess art. - Tigran Petrosian Yes, perhaps I like defending more than attacking, but who has demonstrated that defence is a less risky and dangerous occupation than attack? And are there so few games that have found their way into the treasury of chess thanks to a virtuoso defence? -Tigran Petrosian Real music is always revolutionary, for it cements the ranks of the people; it arouses them and leads them onward.-Dmitri Shostakovich Dmitri Dmitriyevich Shostakovich (25 September 1906 – 9 August 1975) was a Soviet composer and pianist. Many of his works mark the epochs of Soviet history, or explore his own position as an artist in a communist state. Since his death there has been much controversy as to his private political views. Testimony (1979) Testimony is a posthumously published memoir supposedly dictated by Shostakovich in private conversations with the journalist Solomon Volkov. Its authenticity has been hotly disputed. English quotations and page-numbers here are taken from the translation by Antonina W. Bouis (New York: Limelight, 2004). • The most uninteresting part of the biography of a composer is his childhood. All those preludes are the same and the reader hurries on to the fugue. • Page 6 • Its about the people, who have stopped believing because the cup of evil has run over. • Page 8 • Of his Eleventh Symphony. • The withering away of illusions is a long and dreary process, like a toothache. But you can pull out a tooth. Illusions, dead, continue to rot within us. And stink. And you cant escape them. I carry all of mine around with me. • Page 85 • For some reason, people think that music must tell us only about the pinnacles of the human spirit, or at least about highly romantic villains. Most people are average, neither black nor white. Theyre gray. A dirty shade of gray. And its in that vague gray middle ground that the fundamental conflicts of our age take place. • Page 94 • The Allies enjoyed my music, as though trying to say: Look how we like Shostakovichs symphonies, and you still want something more from us, a second front or something. • Page 137 • I feel eternal pain for those who were killed by Hitler, but I feel no less pain for those killed on Stalins orders. I suffer for everyone who was tortured, shot, or starved to death. • Page 155 • The majority of my symphonies are tombstones. • Page 156 • Jewish folk music has made a most powerful impression on me. I never tire of delighting in it, its multifaceted, it can appear to be happy while it is tragic. Its almost always laughter through tears. This quality of Jewish folk music is close to my ideas of what music should be. There should always be two layers in music. Jews were tormented for so long that they learned to hide their despair. They express despair in dance music. • Page 156 • People knew about Babi Yar before Yevtushenkos poem, but they were silent. And when they read the poem, the silence was broken. Art destroys silence. • Page 159 • When a man is in despair, it means that he still believes in something. • Page 175 • I think it is clear to everyone what happens in the Fifth. The rejoicing is forced, created under threat, as in Boris Godunov. Its as if someone were beating you with a stick and saying, Your business is rejoicing, your business is rejoicing, and you rise, shaky, and go marching off, muttering, Our business is rejoicing, our business is rejoicing. • Page 183. • I write music, its performed. It can be heard, and whoever wants to hear it will. After all, my music says it all. It doesnt need historical and hysterical commentaries. In the long run, any words about music are less important than the music. • Page 196 • What you have in your head, put down on paper. The head is a fragile vessel. • Page 229 • Queens Gambit Declined: Charousek (Petrosian) Variation (D31) • 0-1 [Event Moscow Wch-m] [Site ?] [Date 1963.05.08] [EventDate ?] [Round 18] [Result 0-1] [White Mikhail Botvinnik] [Black Tigran Vartanovich Petrosian] [ECO D31] [PlyCount 122] 1. d4 d5 2. c4 e6 3. Nc3 Be7 4. cd5 ed5 5. Bf4 c6 6. e3 Bf5 7. g4 Be6 8. h3 Nf6 9. Nf3 Nbd7 10. Bd3 Nb6 11. Qc2 Nc4 12. Kf1 Nd6 13. Nd2 Qc8 14. Kg2 Nd7 15. f3 g6 16. Rac1 Nb6 17. b3 Qd7 18. Ne2 Ndc8 19. a4 a5 20. Bg3 Bd6 21. Nf4 Ne7 22. Nf1 h5 23. Be2 h4 24. Bh2 g5 25. Nd3 Qc7 26. Qd2 Nd7 27. Bg1 Ng6 28. Bh2 Ne7 29. Bd1 b6 30. Kg1 f6 31. e4 Bh2 32. Qh2 Qh2 33. Rh2 Rd8 34. Kf2 Kf7 35. Ke3 Rhe8 36. Rd2 Kg7 37. Kf2 de4 38. fe4 Nf8 39. Ne1 Nfg6 40. Ng2 Rd7 41. Bc2 Bf7 42. Nfe3 c5 43. d5 Ne5 44. Rf1 Bg6 45. Ke1 Nc8 46. Rdf2 Rf7 47. Kd2 Nd6 48. Nf5 Bf5 49. ef5 c4 50. Rb1 b5 51. b4 c3 52. Kc3 Rc7 53. Kd2 Nec4 54. Kd1 Na3 55. Rb2 Ndc4 56. Ra2 ab4 57. ab5 Nb5 58. Ra6 Nc3 59. Kc1 Nd5 60. Ba4 Rec8 61. Ne1 Nf4 0-1 Hamburg (1965) • Queens Gambit Accepted: Janowski-Larsen Variation (D25) • 1-0 [Event Hamburg] [Site 08] [Date 1965.??.??] [EventDate ?] [Round ?] [Result 1-0] [White Tigran Vartanovich Petrosian] [Black Borislav Ivkov] [ECO D25] [PlyCount 73] 1.d4 Nf6 2.Nf3 d5 3.c4 dxc4 4.e3 Bg4 5.Bxc4 e6 6.Nc3 a6 7.h3 Bh5 8.g4 Bg6 9.Ne5 Nbd7 10.Nxg6 hxg6 11.g5 Nd5 12.Nxd5 exd5 13.Bxd5 c6 14.Bb3 Qxg5 15.Qf3 Nf6 16.Bd2 Qf5 17.Qg2 a5 18.O-O-O Bb4 19.Bxb4 axb4 20.h4 Rc8 21.e4 Qf4+ 22.Kb1 Rxh4 23.e5 Rxh1 24.Rxh1 Nh5 25.Bc2 Ke7 26.Bxg6 fxg6 27.Qxg6 Qxd4 28.Qxh5 Qd3+ 29.Ka1 Rd8 30.Rg1 Rd7 31.Rxg7+ Kd8 32.Rg1 Kc7 33.e6 Rd5 34.Qg4 b3 35.e7 Re5 36.Qg7 Kd6 37.Qxe5+ 1-0 • Queens Gambit Accepted: Classical Defense. Rubinstein Variation (D27) • 1-0 [Event Moscow] [Site Moscow URS] [Date 1971.11.30] [EventDate 1971.11.24] [Round 6] [Result 1-0] [White Tigran Vartanovich Petrosian] [Black Boris Spassky] [ECO D27] [WhiteElo 2640] [BlackElo 2690] [PlyCount 77] 1. d4 d5 2. c4 dxc4 3. Nf3 Nf6 4. e3 e6 5. Bxc4 c5 6. O-O a6 7. a4 Nc6 8. Qe2 Be7 9. Rd1 cxd4 10. exd4 O-O 11. Nc3 Nd5 12. Qe4 Ncb4 13. Ne5 Ra7 14. Bb3 Nf6 15. Qh4 b6 16. Qg3 Bb7 17. Bh6 Ne8 18. Rac1 Kh8 19. d5 exd5 20. Be3 Ra8 21. Nc4 Nd6 22. Bxb6 Qb8 23. Na5 Nf5 24. Qxb8 Raxb8 25. Nxb7 Rxb7 26. a5 Bg5 27. Rb1 d4 28. Nd5 Nc6 29. Ba4 Rc8 30. f4 Nce7 31. Rbc1 Rcb8 32. fxg5 Nxd5 33. Bc6 Rxb6 34. axb6 Nde3 35. b7 Nxd1 36. Rxd1 g6 37. g4 Ng7 38. Rxd4 Ne6 39. Rd7 1-0
Posted on: Sat, 10 Jan 2015 06:46:33 +0000
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