Best 35 quotes of Alexander Kotov on MyQuotes

After a great deal of discussion in Soviet literature about the correct definition of a combination, it was decided that from the point of view of a methodical approach it was best to settle on this definition - A combination is a forced variation with a sacrifice.

All candidate moves should be identified at once and listed in one's head. This job cannot be done piecemeal, by first examining one move and then look at another.

Bobby Fischer is the greatest Chess genius of all time!

Drawing general conclusions about your main weaknesses can provide a great stimulus to further growth.

Experience and the constant analysis of the most varied positions builds up a store of knowledge in a player's mind enabling him often at a glance to assess this or that position.

Go through detailed variations in your own time, think in a general way about the position in the opponent's time and you will soon find that you get into time trouble less often, that your games have more content to them, and that their general standard rises.

I cannot think that a player genuinely loving the game can get pleasure just from the number of points scored no matter how impressive the total. I will not speak of myself, but for the masters of the older generation, from whose games we learned, the aesthetic side was the most important. -

I can remember a case where Capablanca worked out an impressive combination, but then chose to make a simple move in answer to which his opponent resigned at once!

If a chess statistician were to try and satisfy his curiousity over which stage of the game proved decisive in the majority of cases, he would certainly come to the conclusion that it is the middlegame that provides the most decisive stage.

If you can play the first ten or fifteen moves in just as many minutes, you can be in a state of bliss for the rest of the game. If, on the other hand, Bronstein thinks for forty minutes about his first move, then time trouble is inevitable.

If your opponent is short (on time), play just as you played earlier in the game. If you are short keep calm, I repeat, don't get flustered. Keep up the same neat writing of the moves, the same methodical examination of variations, but at a quicker rate.

If you study the classic examples of endgame play you will see how the king was brought up as soon as possible even though there seemed no particular hurry at the time.

In analysing complicated variations one must examine each branch of the tree once and once only.

In choosing an opening plan players think most of all of harmonious development for the pieces, but sometimes leave the development of the queen out of their considerations. Yet the Queen is the most valuable and important piece and the whole outcome can depend upon how successfully she plays her role.

In order to become a grandmaster class player whose understanding of chess is superior to the thousands of ordinary players, you have to develop within yourself a large number of qualities, the qualities of an artistic creator, a calculating practitioner, a cold calm competitor.

I soon realized that it is not enough for a master simply to analyse variations scrupulously just like an accountant. He must learn to work out which particular moves he should consider and then examine just as many variations as necessary - no more and no less.

It has always been recognized that chess is an art, and its best practitioners have been described as artists.

It is better to follow out a plan consistently even if it isn't the best one than to play without a plan at all. The worst thing is to wander about aimlessly.

Just as the pianist practices the most complicated pieces to improve the technique of his fingers, so too a grandmaster must keep his vision in trim by daily analysis of positions with sharp possibilities, and this applies whether he prefers such positions in his play or not.

My achievements in the field of chess are the result of immense hard work in studying theory.

Once in a Moscow chess club I saw how two first-category players knocked pieces off the board as they were exchanged, so that the pieces fell onto the floor. It was as if they were playing skittles and not chess!

Once there is the slightest suggestion of combinational possibilities on the board, look for unusual moves. Apart from making your play creative and interesting it will help you to get better results.

Once upon a time supporters of the Steinitz-Tarrasch school had a very high opinion of a queen-side pawn majority. Modern strategy on the other hand categorically denies that such a majority is an independent factor of any importance.

Once we have chosen the right formation in the centre we have created opportunities for our pieces and laid the foundation of subsequent victory.

The main thing that develops positional judgement, that perfects it and makes it many-sided, is detailed analytical work, sensible tournament practice, a self-critical attitude to your games and a rooting out of all the defects in your play.

The masters and grandmasters can be divided into three groups - the inveterate time trouble merchants, those who sometimes get into trouble, and those for whom the phenomenon is a very rare occurence.

The placing of the centre pawns determines the "topography" of a game of chess.

The proponents of Steinitz' theory - Tarrasch and his supporters - tried to express Steinitz' teaching in the form of laconic rules, and as often happens in such cases, they went too far. The laconic tended to become dogmatic, and chess began to lose its freshness, originality and charm.

There is no doubt that the reason for my awful oversight was over-confidence that sapped my sense of danger. So that is where to look for the cause of bad blunders - in the exulting feeling of self-congratulation.

The rise of the Soviet school to the summit of world chess is a logical result of socialist cultural development.

The study of typical plans is something that the leading grandmasters devote a great deal of time to. I would say that the most far-seeing of them devote as much time to this as to the study of openings.

Time trouble is blunder time.

When you have finished analyzing all the variations and gone along all the branches of the tree of analysis you must first of all write the move down on your score sheet, before you play it.

You must not let your opponent know how you feel.

You will already have noticed how often Capablanca repeated moves, often returning to positions which he had had before. This is not lack of deciciveness or slowness, but the employment of a basic endgame principle which is 'Do not hurry'.