Nimzo-Indian: Leningrad, 4...c5
Nimzo-Indian: Leningrad, 4…c5
Definition
The Nimzo-Indian Defence appears after the moves 1.d4 Nf6 2.c4 e6 3.Nc3 Bb4. The Leningrad Variation is characterized by White’s fourth move 4.Bg5, pinning the knight on f6 and aiming for quick kingside pressure. Black’s reply 4…c5—the focus of this entry—immediately strikes at the d4–c4 pawn chain and introduces dynamic, Grünfeld-like counterplay rather than the slower 4…h6 or 4…d5 systems.
Usage in Play
The sequence most often arises:
- 1.d4 Nf6 2.c4 e6 3.Nc3 Bb4 4.Bg5 c5
After 4…c5 Black threatens to capture on d4 or play …Qa5+, forcing concessions. Typical continuations include:
- 5.d5 (the most principled) exd5 6.cxd5 h6 7.Bh4 d6, when Black accepts an isolated or hanging pawn structure for active piece play.
- 5.Nf3 (flexible) cxd4 6.Nxd4 h6 7.Bd2 Nc6, keeping the tension and aiming at d4.
- 5.e3 cxd4 6.exd4 d5, transposing to a Tarrasch-like setup in which Black has freed the light-squared bishop.
Strategic Themes
- Immediate central tension: The pawn thrust …c5 forces White either to advance or resolve the tension, preventing White from leisurely building the typical Bg5-fianchetto plan.
- Bishop pair trade-off: By refraining from …h6 and …g5 lines, Black may give up the dark-squared bishop later, but gains time to attack the base at d4.
- Hanging pawns & IQP: Several branches yield pawn structures with c- and d-pawns on half-open files, giving both sides clear-cut plans (pressure vs. activity).
- Flexible queen sortie: The latent idea of …Qa5+ (after …cxd4) can win a tempo, pinning the knight on c3 and discouraging White’s central ambitions.
Historical Significance
The move 4…c5 was popularized by Soviet players from Leningrad (hence the variation’s name) in the 1950s, notably Mark Taimanov and Alexander Tolush. It later became a mainstay in the repertoires of world-class grandmasters:
- Mikhail Botvinnik employed it in training games and in his match preparations.
- Viktor Korchnoi used it as a surprise weapon in Candidates matches, valuing its ambiguity; he once quipped, “You show this move to a Nimzo player and he stops smiling.”
- Garry Kasparov explored the line in his early career, adding sharp novelties in positions with hanging pawns.
Illustrative Game
In this analysis session game (Kasparov, 1980), Black’s 4…c5 leads to hanging pawns on c4–d5. Note how the bishop on f5 and the rook on e8 pressurize e3 and d4, illustrating typical Black counterplay while White tries to mobilize his pawn majority.
Typical Plans
- For Black
- Apply pressure on d4 with …cxd4 and …Qa5+.
- Target hanging pawns after they advance: …Rc8, …Re8, and minor-piece harassment.
- Seize the initiative before White completes development; sometimes sacrifice a pawn for activity.
- For White
- Maintain the central wedge d5; use space to launch kingside attacks (h4–h5, g4).
- Exploit the pin on f6 when feasible: Bxf6, e4.
- Convert pawn structure advantage if Black gains hanging pawns: blockade with Nd4, Qd2, Rfd1.
Interesting Facts & Anecdotes
- The line was once considered “anti-positional” because Black seemingly violates the classical principle of completing development before attacking the center—yet statistics now show competitive results for Black.
- Computer engines initially underrated 4…c5, but modern neural-network engines such as LCZero often recommend it at depth 40+, echoing human intuition from the 1950s.
- Grandmaster Peter Svidler (a Saint-Petersburg native, formerly Leningrad) joked in a lecture: “We don’t give names easily in my city; if we put ‘Leningrad’ on a move, it must be good.”
When to Choose 4…c5
Select this system if you enjoy:
- Early central tension that can unbalance the position swiftly.
- Dynamic piece play and aren’t afraid of isolated or hanging pawns.
- Sidestepping heavy theoretical main lines like 4…h6 5.Bh4 c5 or the Karpov Variation 4…Bxc3+.
Conclusion
The Nimzo-Indian Leningrad Variation with 4…c5 is a combative reply that keeps both sides on their toes from move four. Strategically double-edged and historically enriched by Soviet innovation, it remains a formidable component of a modern Nimzo-Indian repertoire.