Nimzowitsch-Larsen Attack: Symmetrical Variation
Nimzowitsch-Larsen Attack, Symmetrical Variation
Definition
The Nimzowitsch-Larsen Attack is the opening that begins with 1. b3, immediately fianchettoing White’s queen’s bishop on the long diagonal. The Symmetrical Variation arises when Black mirrors the idea with 1…b6, reaching the position
1. b3 b6
Both sides intend to develop their bishops to b2 and b7, creating a perfectly symmetrical setup after 2. Bb2 Bb7. This line is coded A01 in the ECO (Encyclopaedia of Chess Openings).
How It Is Used in Play
- Surprise Weapon: 1. b3 is less common than 1. e4 or 1. d4, so many players choose it to take opponents out of mainstream opening theory. The Symmetrical Variation neutralises that element of surprise by copying the idea.
- Flexible Structure: Because neither side blocks the c- or d-pawns immediately, a wide variety of central pawn structures can still arise (French-type with …e6/d5, Queen’s Indian-type with …Nf6/…e6, or even reversed English setups).
- Tempo Questions: In a perfectly balanced mirror position White enjoys an extra move, forcing Black to decide when to break the symmetry. The onus is on Black to equalise in a position that can look deceptively quiet.
Main Move Order & Typical Continuations
After 1. b3 b6 2. Bb2 Bb7 the most popular plans are:
- 3. Nf3 Nf6 4. e3 e6 5. c4 White strikes in the center with c4 and d4 ideas, turning the game into a kind of reversed Queen’s Indian/English.
- 3. c4 e6 4. Nc3 Nf6 5. Nf3 d5 Symmetry is broken in the center; play often resembles a Tarrasch Defence with colors reversed.
- 3. g3 aiming for double fianchetto (Bg2) and a reversed Grünfeld structure after Nf3 & d3/e4 later on.
Strategic Themes
- Breaking the Symmetry: White can choose when and how to disturb the mirror image. Common breaks are c2–c4, e2–e4 or f2–f4. Black must respond actively (…d5 or …e5) to avoid remaining a tempo behind.
- Minor-Piece Pressure: The bishops on the b-file stare at each other; exchanges on b7/b2 often leave the side with the better knight placement ahead.
- Control of the e4/e5 squares: Because the b-bishops influence the center indirectly, jumping a knight into e5 (for White) or e4 (for Black) is a recurrent motif.
- Endgame Edge: If the position stays symmetrical into an endgame, White’s extra tempo may translate into a pawn majority advance on one wing.
Historical Context & Notable Games
The system carries the names of two great hyper-modern pioneers:
- Aron Nimzowitsch (1886-1935) used 1. b3 occasionally to demonstrate flexibility and control of key squares from a distance.
- Bent Larsen (1935-2010) popularised it in elite events of the 1960s and 70s, famously beating World Champion Boris Spassky with 1. b3 in the 1970 USSR vs. Rest of the World match (although that game did not feature the Symmetrical reply).
A representative Symmetrical game:
In this encounter, Anish Giri (Black) broke the symmetry with a timely …g6 and later …c5, obtaining dynamic counter-play. The game illustrated how quickly queen-side pressure can mount against the b-bishops when the center opens.
Interesting Facts & Anecdotes
- Because symmetry persists for several moves, some aficionados nickname this line “The Mirror Larsen.”
- Engines at fast time controls often claim full equality for Black, yet practical scores show White scoring slightly above 50 %—a testament to the value of that spare tempo.
- Larsen reputedly joked, “If my opponent refuses to break the symmetry, let him die of boredom while I win on move 40.”
- Grandmaster Baadur Jobava has revived 1. b3 in rapid and blitz; when opponents reply symmetrically he frequently sacrifices a pawn with 3. e4!? to unbalance the struggle.
Key Takeaways
- The Symmetrical Variation neutralises much of White’s first-move surprise but concedes the tempo question.
- Central pawn breaks (c4, d4, e4) are essential; whoever times them better grabs the initiative.
- Piece activity is more important than pawn structure—typical of hyper-modern openings.