Today was round 4 of Anand-Topalov, and it was very exciting! Anand used the Catalan again, and Topalov tried yet another c4 Pawn-grabbing variation (interestingly, a variation that he used against Kramnik in their world championship match in 2006), but out of a very complicated position, Anand found a nice sacrifice (23 Nxh6+) that invaded Topalov's insufficiently protected King (Black had only one Rook in the King side, while a Queen, Rook, two Knights, and a Bishop were all in the Queen side!) and quickly forced a win. Wow, what a game! Who said the Catalan is a boring opening leading to boring games?
It must be painful being Topalov right now. His attempts at creating unbalanced complications out of a Catalan as Black by playing Pawn-grabbing variations have so far not succeeded in his favor. We shall see how he tries to stop Anand's momentum in the upcoming rounds.
Wednesday, April 28, 2010
Tuesday, April 27, 2010
World Chess Championship: Anand-Topalov 1.5-1.5 so far after 3 rounds
I thought I'd share a few thoughts I've had on the 2010 FIDE World Chess Championship match currently in progress.
There are plenty of blogs out there with analysis of the moves of the games themselves, as well as passionate commentary by fans. I would like to offer my own narrative, on the psychology of the match, and maybe some predictions as well. I will not offer any original detailed move analysis, since many others have done a fine job with that: one good source is Dennis Monokroussos's blog.
Before the match began, I felt that the end result would be fairly close, most likely with Anand Viswanathan of India emerging victorious over Veselin Topalov of Bulgaria. I still stand by this prediction.
The Anand-Topalov match is now tied so far at 1.5-1.5, after a hair-raising first round in which Anand lost as Black, then a fascinating second round in which Topalov lost as Black, then a draw in the third round. So far, the match has been exciting, with real battles at the board. The fourth round will have Anand as White against Topalov.
Both Anand and Topalov are, of course, great players. While Topalov is a fierce fighter and has no fear of sacrificing material and creating immense complications, Anand is more cautious, but also more versatile in style. I think his versatility gives him a slight edge.
The first game had Anand, as Black, fall victim, in horrific manner, to deep tactical preparation that Topalov rattled off quickly. Topalov played a known Pawn sacrifice against Anand's Grünfeld, then simply launched an attack against Anand's King, and in one move, Anand made a blunder (23...Kf7??) then ended the game, because of the sacrifice (24 Nxf6!) which simply blasts Black's position apart and allow White's Rook to go to h3 and down the h file, and the other Rook to go down the c file, while the Queen and Bishop come in as well. It was a shocking way for the first game to end.
After this disastrous first game, I wondered whether Anand could bounce back. He did, and what impressed me was the way in which he did it, almost as though he hadn't just a day earlier walked into one of the shortest game losses in world championship history. This is, of course, what all competitive professionals can and must do: not dwell on the past, but move forward.
The second game had Anand playing White. Topalov played 3...d5, probably with the intention of inviting a sharp Vienna or Ragozin, but Anand played the Catalan. This was a revealing choice. Clearly Anand was aiming at a positional squeeze against Topalov. That he succeeded so well, I think, reflects Topalov's weaknesses more than the first game reflected Anand's. The single most interesting moment in the match so far took place when Anand played the strange 15 Qa3, after having sacrificed the d4 Pawn earlier for positional compensation. This move, which looks so bizarre and ugly, even to a beginner's eye, must have been, if nothing else, psychologically motivated. Exchanging Queens and even incurring doubled Pawns, was a courageous attempt (which succeeded) at unbalancing Topalov's mind. We all know that Topalov does not like to be on the defensive or engaged in dry, positional play. By forcing Topalov into this kind of game, Anand reminded me of how different human chess is from computer chess. Yes, everyone can easily see that Qa3 is "objectively" not the best move to play, and everyone these days can fire up Rybka or some other computer engine to (rightfully) declare Black to have an advantage in the ensuing Queenless middlegame, but the computer engines do not know that Topalov does not like this kind of game and has a hard time finding a plan, and is tempted to start lashing out, playing weakening moves, and then suddenly trying for tactical counterplay where it is unwarranted. Unfortunately, Topalov did exactly what he was prone to doing, and lost the game suddenly after Anand simply played reasonable moves, maintaining pressure, and then simplifying to a trivially won Rook and Pawn ending. Anand played like a Kramnik in this game, demonstrating his versatility. We have to recall that in his match against Kramnik in 2006, he surprised Kramnik with Topalov-like aggressive opening preparation, coming up with novel tactical play against Kramnik, both as White (avoiding a trade of Queens in the classical Nimzo-Indian and pushing h3 and g4 to drive Kramnik's Queen back) and as Black (with his ultra-sharp theoretical novelty 14...Bb7 in the old Meran). So Anand can play like Topalov and he can play like Kramnik. I think this gives him an advantage, although he has a weakness of sometimes becoming cautious and not scoring a point in a game.
The third game, played today, ended as a draw, a high-quality game without any errors by either Anand or Topalov. I consider this game, however, to have been a continuation of Anand's momentum. First of all, he was Black, so holding a draw was a decent accomplishment. Second, the psychological reality is that he drew using a defensive variation of the Ne5 Slav that Kramnik had rehabilitated, using it against Topalov in 2006! I wonder what Topalov thought of Anand playing yet again like Kramnik. Topalov grabbed a lot of space with Pawn lunges such as h5 and a5, b4, but could make no headway while Anand caught up on rearranging his pieces. Now, I wonder whether Topalov will, the next time he is White, revert to ideas in the slow e3 Slav that he had unleashed earlier in his match with Kramnik! There, at least, was the imbalance of Bishop versus Knight to work with in the middlegame.
Now, to the fourth game coming up: will Anand play the Catalan again in the fourth game, or something completely different? Will he allow the Nimzo-Indian? Or will Topalov vary before that? I do not believe we will see Topalov take such a risk as play the Modern Benoni or the King's Indian, but who knows? This has been a fun match so far to watch, and I hope it continues to be stimulating. I wonder what psychological tricks Topalov will try to use to disturb Anand's mind.
There are plenty of blogs out there with analysis of the moves of the games themselves, as well as passionate commentary by fans. I would like to offer my own narrative, on the psychology of the match, and maybe some predictions as well. I will not offer any original detailed move analysis, since many others have done a fine job with that: one good source is Dennis Monokroussos's blog.
Before the match began, I felt that the end result would be fairly close, most likely with Anand Viswanathan of India emerging victorious over Veselin Topalov of Bulgaria. I still stand by this prediction.
The Anand-Topalov match is now tied so far at 1.5-1.5, after a hair-raising first round in which Anand lost as Black, then a fascinating second round in which Topalov lost as Black, then a draw in the third round. So far, the match has been exciting, with real battles at the board. The fourth round will have Anand as White against Topalov.
Both Anand and Topalov are, of course, great players. While Topalov is a fierce fighter and has no fear of sacrificing material and creating immense complications, Anand is more cautious, but also more versatile in style. I think his versatility gives him a slight edge.
The first game had Anand, as Black, fall victim, in horrific manner, to deep tactical preparation that Topalov rattled off quickly. Topalov played a known Pawn sacrifice against Anand's Grünfeld, then simply launched an attack against Anand's King, and in one move, Anand made a blunder (23...Kf7??) then ended the game, because of the sacrifice (24 Nxf6!) which simply blasts Black's position apart and allow White's Rook to go to h3 and down the h file, and the other Rook to go down the c file, while the Queen and Bishop come in as well. It was a shocking way for the first game to end.
After this disastrous first game, I wondered whether Anand could bounce back. He did, and what impressed me was the way in which he did it, almost as though he hadn't just a day earlier walked into one of the shortest game losses in world championship history. This is, of course, what all competitive professionals can and must do: not dwell on the past, but move forward.
The second game had Anand playing White. Topalov played 3...d5, probably with the intention of inviting a sharp Vienna or Ragozin, but Anand played the Catalan. This was a revealing choice. Clearly Anand was aiming at a positional squeeze against Topalov. That he succeeded so well, I think, reflects Topalov's weaknesses more than the first game reflected Anand's. The single most interesting moment in the match so far took place when Anand played the strange 15 Qa3, after having sacrificed the d4 Pawn earlier for positional compensation. This move, which looks so bizarre and ugly, even to a beginner's eye, must have been, if nothing else, psychologically motivated. Exchanging Queens and even incurring doubled Pawns, was a courageous attempt (which succeeded) at unbalancing Topalov's mind. We all know that Topalov does not like to be on the defensive or engaged in dry, positional play. By forcing Topalov into this kind of game, Anand reminded me of how different human chess is from computer chess. Yes, everyone can easily see that Qa3 is "objectively" not the best move to play, and everyone these days can fire up Rybka or some other computer engine to (rightfully) declare Black to have an advantage in the ensuing Queenless middlegame, but the computer engines do not know that Topalov does not like this kind of game and has a hard time finding a plan, and is tempted to start lashing out, playing weakening moves, and then suddenly trying for tactical counterplay where it is unwarranted. Unfortunately, Topalov did exactly what he was prone to doing, and lost the game suddenly after Anand simply played reasonable moves, maintaining pressure, and then simplifying to a trivially won Rook and Pawn ending. Anand played like a Kramnik in this game, demonstrating his versatility. We have to recall that in his match against Kramnik in 2006, he surprised Kramnik with Topalov-like aggressive opening preparation, coming up with novel tactical play against Kramnik, both as White (avoiding a trade of Queens in the classical Nimzo-Indian and pushing h3 and g4 to drive Kramnik's Queen back) and as Black (with his ultra-sharp theoretical novelty 14...Bb7 in the old Meran). So Anand can play like Topalov and he can play like Kramnik. I think this gives him an advantage, although he has a weakness of sometimes becoming cautious and not scoring a point in a game.
The third game, played today, ended as a draw, a high-quality game without any errors by either Anand or Topalov. I consider this game, however, to have been a continuation of Anand's momentum. First of all, he was Black, so holding a draw was a decent accomplishment. Second, the psychological reality is that he drew using a defensive variation of the Ne5 Slav that Kramnik had rehabilitated, using it against Topalov in 2006! I wonder what Topalov thought of Anand playing yet again like Kramnik. Topalov grabbed a lot of space with Pawn lunges such as h5 and a5, b4, but could make no headway while Anand caught up on rearranging his pieces. Now, I wonder whether Topalov will, the next time he is White, revert to ideas in the slow e3 Slav that he had unleashed earlier in his match with Kramnik! There, at least, was the imbalance of Bishop versus Knight to work with in the middlegame.
Now, to the fourth game coming up: will Anand play the Catalan again in the fourth game, or something completely different? Will he allow the Nimzo-Indian? Or will Topalov vary before that? I do not believe we will see Topalov take such a risk as play the Modern Benoni or the King's Indian, but who knows? This has been a fun match so far to watch, and I hope it continues to be stimulating. I wonder what psychological tricks Topalov will try to use to disturb Anand's mind.
Friday, January 8, 2010
Java autobox pitfall
I just wasted time figuring out a mysterious
and assumed that this should have been a simple check of an attribute.
Looking at the generated code, I saw that it looked like
and was therefore puzzled, until I saw that
Aha, autoboxing and unboxing! Of course, what was happening was that the
Or perhaps that way lies madness, and it's good that Java didn't turn into Perl with "smart" implicit conversions.
Anyway, what annoyed me was that just looking at the signature of
java.lang.NullPointerException thrown by a program I'm working on, because my Java coding standards result in my almost never getting a NullPointerException. I was calling a method that I didn't write (generated by JAXB that had the type signatureboolean isGood()and assumed that this should have been a simple check of an attribute.
Looking at the generated code, I saw that it looked like
public boolean isGood() {
return good;
}
and was therefore puzzled, until I saw that
good was not what I thought it was, a boolean, but ratherprotected Boolean good;Aha, autoboxing and unboxing! Of course, what was happening was that the
Boolean instance variable good was uninitialized, and therefore null, and therefore the unboxing failed. This was unintuitive behavior to me, because it would be more sensible if for a Boolean, null were treated as converting to boolean value of false.Or perhaps that way lies madness, and it's good that Java didn't turn into Perl with "smart" implicit conversions.
Anyway, what annoyed me was that just looking at the signature of
boolean isGood(), I was misled. Clearly, JAXB should have generated Boolean getGood() instead, in order to make explicit the fact that it was handling a three-value variable instead of two.
Sunday, November 29, 2009
Chopin's prelude in E minor, op. 28, no. 4
When I was a freshman in college, I heard an old scratchy recording of Chopin's prelude in E minor, op. 28, no. 4 for piano, and was so spellbound by it that I wanted to learn to play the piece myself. Over the years, I occasionally sit down and play it when I feel like it.
For fun, here is a sample recording of myself (in 2006) straight to MIDI from my Yamaha digital piano. The performance is rough and off-the-cuff, but it reflects what I was feeling the moment I was playing it. Click to play.
How about that old recording I first heard? The performance in question was by the great Alfred Cortot, from 1926. I would later hear other renditions of the piece, but I would never forget the impact of Cortot's, in the freedom and drama of his interpretation. I would not say that Cortot's is the "correct" or "best" or even my "favorite" interpretation, as there are many ways to feel and play the piece, but Cortot in 1926 was the one that jolted me into Chopin's world.
The Cortot recording from 1926 can be heard here (skip to 0:55 to get to op. 28, no. 4):
Any similarities in my approach and Cortot's are probably not coincidental, although I never deliberately imitate anyone nor do I want to.
For fun, here is a sample recording of myself (in 2006) straight to MIDI from my Yamaha digital piano. The performance is rough and off-the-cuff, but it reflects what I was feeling the moment I was playing it. Click to play.
How about that old recording I first heard? The performance in question was by the great Alfred Cortot, from 1926. I would later hear other renditions of the piece, but I would never forget the impact of Cortot's, in the freedom and drama of his interpretation. I would not say that Cortot's is the "correct" or "best" or even my "favorite" interpretation, as there are many ways to feel and play the piece, but Cortot in 1926 was the one that jolted me into Chopin's world.
The Cortot recording from 1926 can be heard here (skip to 0:55 to get to op. 28, no. 4):
Any similarities in my approach and Cortot's are probably not coincidental, although I never deliberately imitate anyone nor do I want to.
Sunday, June 7, 2009
Plans for the blog
I haven't posted on this blog for a while now, because I've been very busy, and also, I've given more thought to what I'd like to post on it in the future. When I return to posting, this blog will contain mainly two types of material: poems as I write them, and creative exposition of technical subjects of interest to me.
Monday, May 18, 2009
Guarneri Quartet retiring
I just heard that the Guarneri Quartet is retiring this year. Ordinarily, I would not take much note of such news, because although I've enjoyed the occasional Guarneri Quartet recording I've heard over the years, it's not a quartet I've seen live or had some special fondness for. But, this news came to me while the Guarneri Quartet by chance happened to be fresh in my mind, in a way.
First, while I was going through my LP collection several days ago, I happened to examine my 3-LP set of Brahms' three piano quartets and Schumann's piano quintet recorded by Artur Rubinstein and a young Guarneri Quartet in 1967. I had decided to keep this set, the source of my first exposure to these particular works, and therefore something of a sentimental favorite.
Second, while I had been Googling to see if there existed a CD reissue of this LP set (the answer was yes), I had found that Rubinstein and the Guarneri Quartet had also recorded Mozart's piano quartets, so I had checked the CD out of the local library and had listened to parts of it just a couple of days ago.
I have to confess that the performances were not to my taste. I favor a quicker, more dramatic interpretation of Mozart. I like how in the past two decades, period instrument scholarship and practice have resulted in very exciting, revitalized performances of music from Bach to Beethoven, both on period instruments and on modern instruments.
I guess all I'm saying here is that re-examining my music collection has led me to discard some recordings, while saving other recordings, from the past. Nothing stands still, not even the past and our appreciation of or criticism of it.
First, while I was going through my LP collection several days ago, I happened to examine my 3-LP set of Brahms' three piano quartets and Schumann's piano quintet recorded by Artur Rubinstein and a young Guarneri Quartet in 1967. I had decided to keep this set, the source of my first exposure to these particular works, and therefore something of a sentimental favorite.
Second, while I had been Googling to see if there existed a CD reissue of this LP set (the answer was yes), I had found that Rubinstein and the Guarneri Quartet had also recorded Mozart's piano quartets, so I had checked the CD out of the local library and had listened to parts of it just a couple of days ago.
I have to confess that the performances were not to my taste. I favor a quicker, more dramatic interpretation of Mozart. I like how in the past two decades, period instrument scholarship and practice have resulted in very exciting, revitalized performances of music from Bach to Beethoven, both on period instruments and on modern instruments.
I guess all I'm saying here is that re-examining my music collection has led me to discard some recordings, while saving other recordings, from the past. Nothing stands still, not even the past and our appreciation of or criticism of it.
Saturday, May 9, 2009
LPs: the end of an era?
I recently decided that I should finally get rid of most of my classical music LP collection (over a hundred albums). Most of it was acquired secondhand at library sales, garage sales, and the like back in the late 1980s and early 1990s, when I found classical CDs to be way too expensive, and the selections at the time were limited also, with many old recordings still not yet reissued. I only ever bought a handful of LPs brand new, in around 1989, even as it was already clear that CDs were going to win for keeps.
In any case, how could I argue when I could and did, for example, buy a nice three-LP box of Mozart's six "Haydn" string quartets, performed by the Quartetto Italiano, for just $4? At random, I decided to listen to a side, and sat down, closed my eyes, and listened to Mozart's string quartet no. 16 in E-flat major, K. 428. The slight crackling noise from the LP didn't bother me much at all. Yes, there was life before digital recordings. Recorded in 1966, this LP sounds just fine; the sound is natural and full enough, and you can make out the different parts.
To my surprise, when I tried to search online for a CD reissue of these performances, I found a CD box set of the complete Mozart quartets by the Quartetto Italiano, but it was out of print! How ironic. This CD set was issued in 1991, apparently, a couple of years after I had bought the LP set (of just the six quartets dedicated to Hadyn), but now is out of print. So much for my expectation that I would be able to listen to CD performances nowadays. So I'm keeping this LP set instead of getting rid of it as originally planned!
I'm going to have to look up many of the other LPs to see if they have existing CD reissues.
It's something of a shame that the Quartetto Italiano's Mozart recordings are now an endangered species. They weren't necessarily my favorite, and stylistically one hears more driven performances these days, but they were good.
Addendum: I am apparently wrong that these recordings are endangered. In another twist of irony, I've seen Google links suggesting that there are torrents out there of these performances! That means immortality, of course. I do not download torrents of music, but I am tickled to think that there are aficionados of the Quartetto Italiano out there keeping their performances alive even after the Philips label stopped selling them.
In any case, how could I argue when I could and did, for example, buy a nice three-LP box of Mozart's six "Haydn" string quartets, performed by the Quartetto Italiano, for just $4? At random, I decided to listen to a side, and sat down, closed my eyes, and listened to Mozart's string quartet no. 16 in E-flat major, K. 428. The slight crackling noise from the LP didn't bother me much at all. Yes, there was life before digital recordings. Recorded in 1966, this LP sounds just fine; the sound is natural and full enough, and you can make out the different parts.
To my surprise, when I tried to search online for a CD reissue of these performances, I found a CD box set of the complete Mozart quartets by the Quartetto Italiano, but it was out of print! How ironic. This CD set was issued in 1991, apparently, a couple of years after I had bought the LP set (of just the six quartets dedicated to Hadyn), but now is out of print. So much for my expectation that I would be able to listen to CD performances nowadays. So I'm keeping this LP set instead of getting rid of it as originally planned!
I'm going to have to look up many of the other LPs to see if they have existing CD reissues.
It's something of a shame that the Quartetto Italiano's Mozart recordings are now an endangered species. They weren't necessarily my favorite, and stylistically one hears more driven performances these days, but they were good.
Addendum: I am apparently wrong that these recordings are endangered. In another twist of irony, I've seen Google links suggesting that there are torrents out there of these performances! That means immortality, of course. I do not download torrents of music, but I am tickled to think that there are aficionados of the Quartetto Italiano out there keeping their performances alive even after the Philips label stopped selling them.
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