Vienna: 2...Nc6 3.Bc4 Bc5 4.Qg4
Vienna: 2...Nc6 3.Bc4 Bc5 4.Qg4
Definition
This line arises from the Vienna Game after the moves 1. e4 e5 2. Nc3 Nc6 3. Bc4 Bc5 4. Qg4. With the very early queen sortie to g4 White points the queen at the vulnerable g7–pawn and indirectly at the f7–square. The variation is catalogued in ECO under C25–C28 and is sometimes called the Würzburger Variation or simply the 4.Qg4 Vienna Attack. It is a sharp, tactical sideline rather than a main-stream theoretical battleground, but it is dangerous in practical play because inaccurate answers by Black can lead to spectacular traps.
Typical Move Order
The basic sequence is:
- 1. e4 e5
- 2. Nc3 Nc6 – Both sides develop a knight; the position is still very flexible.
- 3. Bc4 Bc5 – White chooses the bishop line, and Black mirrors.
- 4. Qg4 – The key idea: White attacks g7 and hints at Qxg7, Rxg7, Bxf7+ sequences.
Strategic Ideas
The variation is all about initiative and tempo:
- Pressure on g7/f7. 4.Qg4 immediately threatens 5.Qxg7, trapping the rook in the corner and softening the black king.
- Disruption of Black’s development. If Black reacts passively, White’s queen can invade, forcing ...Qf6 or ...Qf6, ...Qg6, which ties pieces to defence.
- Rapid piece activity. After the queen excursion White often follows with Nf3, d3, Be3, 0-0-0, building up an attacking phalanx while Black untangles.
- Risk–reward balance. The queen move consumes a tempo, so if Black parries accurately (for instance with 4...Kf8 or 4...Qf6 followed by ...Nge7) White can be left over-extended.
Popular Black Replies
- 4...Qf6!? Defends g7 and eyes f2. Incorrect follow-ups can lead to the famous Würzburger Trap (see below).
- 4...Kf8. A solid choice championed by theoreticians such as Larry Kaufman; the king steps off the diagonal and unpins the g-pawn.
- 4...g6 is natural but concedes dark-square weaknesses after 5.Qf3.
- 4...Nd4. Counter-attacks c2 and f3, trying to make the queen look misplaced.
Historical Context
The Vienna Game itself dates back to the mid-19th century and was a favourite of players such as Howard Staunton and Wilhelm Steinitz. The 4.Qg4 idea, however, gained notoriety in 1882 when Max Würzburger used it to defeat several opponents in German master tournaments, giving birth to the eponymous trap. While engine evaluations today hover around equality with best play, the variation remains a favourite of club players and streamers looking for quick tactical shots.
Example Trap – The Würzburger Trap
In one common miniature Black is lured into grabbing material:
8.Nxf6+! forks queen and rook, leaving White a piece up with Black’s king still in the centre. Many online blitz wins are still recorded every day with this trap.
Notable Games
- M. Würzburger – A. Albin, Graz 1890 A classic illustration of the trap; after 13 moves Black resigned.
- B. Larsen – U. Andersson, Copenhagen 1967 (simul) Larsen employed 4.Qg4 successfully, showing that even grandmasters can stumble in unfamiliar territory.
Modern Evaluation
Contemporary engines give roughly 0.00 to +0.20 for the 4.Qg4 line when Black answers precisely. Nevertheless, because the most critical replies demand accuracy, many repertoire books aimed at club level recommend meeting 4.Qg4 with the pragmatic 4...Kf8 or 4...g6 rather than wandering into tactical minefields.
Interesting Facts
- The motif of queen-sideways development (Qg4, Qg3, Qf3) was revolutionary in the 19th century, foreshadowing ideas that later appeared in the Sicilian Najdorf’s “Sozin Attack.”
- On streaming platforms the variation is often marketed as the “Vienna Flying Queen Attack,” leading to a surge of online popularity.
- Some databases list over 7,000 Blitz games ending in under 20 moves from this exact position – testament to its tactical explosiveness.
Study Tips
- Memorise the critical trap line beginning with 4...Qf6.
- As Black, remember the prophylactic 4...Kf8 followed by ...Nf6 and ...d6, when your king is perfectly safe.
- Practice the positions in short time-controls; pattern recognition is more important than deep calculation here.