An early post in this blog was devoted to Richard James’s chess and music posts. Another fantastic resource for the subject is found among the immensely capacious Chess Notes, started in 1982, written and curated by Edward Winter, probably the most reliable, certainly the most meticulous chess historian of today (or indeed any other day).
Winter’s speciality is uncovering nuggets of information among the pages of chess journals and magazines, often going back into the nineteenth century, and many of them all but inaccessible today outside of personal collections or specialist chess libraries. This article is no different. Nowhere else could I have found a reference to ‘Mendelssohn as a Chessplayer’ (in the Chess Player’s Chronicle, 22 November 1881, page 565). Nowhere else could I have discovered that the famous Russian-American violinist Mischa Elman boasted of his ability as a chess player on page 266 of the June 1916 Chess Amateur.
Sensibly, Winter’s article excludes material relating to François Danican Philidor, although he does permit himself a mention of a recording of a military march by Philidor’s dad, André Danican Philidor. Actually, one could find a lot of music by relatives of the great chess theorist, quite apart from the fact that he is himself the most celebrated composer of the family. The Philidors were an extensive dynasty of French court composers in the seventeenth and eighteenth centuries, including the chess genius’s half-brother Anne Danican Philidor (yes, a brother called Anne — explained by the fact that he was ‘named after his godfather’, according to The New Grove Dictionary of Music and Musicians) who in 1725 founded the Concert Spirituel in Paris, one of the very first public concert series.
Anyway, Winter’s article is full of treasures, going well beyond the obligatory mention of Prokofiev (who gets his own article anyway), and even has several musical scores reproduced as images — a Caïssa Waltz, a Schach-Marsch, even a Lament at the Tomb of Paul Morphy. Perhaps a concert of chess-related music would be a good fund-raising idea for impoverished local chess clubs.
Click here to enjoy Chess and Music by Edward Winter (last updated November 2018).
Books on chess are a curious genre. There are an awful lot of them, they are very hard to find in libraries. They nearly all fall into one of a few categories. Books on openings. Books on improving your chess technique. Collections of games (by an individual, or from a world title match, or from a significant tournament).
And that is about it. What all these books share as a quality is that they are absolutely incomprehensible to anyone who is not a keen chess player. I have many of them, and if I leave them lying around, members of my family ask me when I am going to read a “proper” book.
There are just two kinds of exceptions to this rule, and these exceptions contain my favourite kinds of chess book. The first is chess biography or autobiography: Korchnoi’s Chess is my life is worth reading as much for its picture of the privations of the siege of Leningrad as for its depiction of one of the most obdurate personalities ever to have graced the game. Emanuel Lasker: The life of a chess master (J. Hannak) is a riveting account of an extraordinary personality. But the second kind of exception to the normal run of chess literature is my favourite: books which take chess into other realms, such as literature or film (see my earlier post on Nabokov’s The Luzhin Defence), or the anecdotal and eccentric (by far my favourite is The Complete Chess Addict by Mike Fox and Richard James, and its enlarged version The Even More Complete Chess Addict). And now – joy of joys! – the chess publisher Russell Enterprises has presented a book on exactly the topic of this blog.
The first thing I want to say about this book is that you should definitely get yourself a copy, if you are reading this blog. I need to put that first, because I could hardly fail to welcome a publication such as this. Having said that, there are of course lots of things here which I would have put differently or with which I don’t quite agree. But these are the kinds of things one should discuss over a convivial drink, not reasons for disparaging the book.
Achilleas Zographos (since I contacted him, this blog has gained Greece as a new country in its stats profile) is a much better chess player than I am (he is a FIDE trainer) and also a much better performer (he is a concert pianist). There are times when his perspective is clearly that of a performer rather than a composer. But there are a lot of things I like about his book.
Things I like about this book
The author is clearly a man after my own heart, with a taste for the quirky and occasionally bizarre which I love. Perhaps all of us who love both chess and music as arts are similar in that way. He has compiled a huge quantity of anecdotes and information of the sort I find fascinating. Quite a lot of it I knew already (unsurprisingly); Fox & James (see above) are frequently cited as a source for anecdotes. But there is plenty in the book which I didn’t know: for instance, I didn’t know the sixteenth-century Italian poem which invented the dryad Schacchia, goddess of chess, and the eighteenth-century English poem in which she acquired the name Caïssa (the poems are described here); I had never come across Guido van der Werve’s chess piano (here is his concerto in three movements); and I did not know that GM Levon Aronian, who is about to compete in the 8-player knockout to determine the next World Title Candidate, has a passion for jazz.
The book is sumptuously illustrated. At the back are links for internet sources for the illustrations and YouTube videos. Sadly, some of these links seemed to be broken when I tried them; but I loved the quality of the illustrations reproduced. Trying to download one of the illustrations led me on an interesting detour. On p. 128 is printed a lovely canvas by Kandinsky, with the title Schach-Theorie [Chess Theory], and the date 1937. I did not know that Kandinsky (one of my favourite artists and a collaborator with the composer Arnold Schoenberg) had an interest in chess. When I found that the link at the back of the book seemed to be broken, I tried an internet search for the painting, and discovered that it has two quite different attributions. The canvas is owned by the Guggenheim Museum in New York, where it has the title Graceful Ascent and the date 1934.
I have to say that Graceful Ascent seems more convincing as a title, although there are some details near the top of the canvas that could conceivably be chess pieces.
So where do the probably false title and date come from? Further internet searching turned up what seems the likely source, and a wonderful anecdote. In 1937, the year that many of Kandinsky’s paintings were confiscated by the Nazis and displayed in the Exhibition of Degenerate Art, a retrospective of his work was displayed in the Swiss city of Bern. The city was home to another of the Bauhaus artists, Paul Klee, and the exhibition was to be the last time that the two artists met (Klee was seriously ill and died in 1940). According to the Bern artist Peter Matter, the two giants met in front of Kandinsky’s work Schach-Theorie, and both were seized by a sudden desire to go back to Klee’s house and play each other at chess. So perhaps the internet translation of Matter’s diary is the source of the misattribution. And perhaps it was a different canvas: both Klee and Kandinsky produced other works at that time that suggest the game of chess much more clearly to me (hover your mouse to see the titles).
Klee, ‘Überschach’ (1937)
Kandinsky ‘Trente’ (1937)
So this is probably an error, as far as the content of the book goes; but I could hardly complain at that, since it sent me on a rewarding hunt which enabled me to place these two alongside Schoenberg as artists enthusiastic for the Royal Game.
Things I don’t like so much about this book
Most of the things I am less impressed with in the book are not the fault of its author. While the publisher should be applauded for commissioning this work, the author is not writing in his native language, and the services of a copy-editor would have improved it as a text to read. Infelicities such as “At the moment of writing” (rather than “At the time of writing”, p. 13); or grammatical lapses such as Steinitz’s “systematic, scientific approach of the game” (rather than “…approach to the game”, p. 21), are frequent and irritating. My annoyance at the blurb on the back cover engendered an earlier blog post, Prodigies: the preserve of music and chess? although I did discover on p. 39 that it was the American grandmaster Edward (not the World Champion Emanuel) Lasker who originally commented on child prodigies as a phenomenon of chess, music and mathematics.
Things that puzzle me in this book
There are a lot of lists in this book. That is no bad thing in itself; I like lists. The last chapter, ‘Quotations’ is in fact just a list of good quotations, which ought to delight designers of chess-related t-shirts.
Other lists are more intriguing. For instance, Beethoven appears in a long list of musicians who had a passion for chess on pp. 23–24; he is mentioned a dozen times elsewhere (the book has a good index), but always just as an emblem of “the great composer”; nowhere are we told the source for believing he had an interest in the game of chess. My scan through the several hefty volumes of his letters could find no mention of it at all; but I would love to know what evidence there is.
But lastly, the thing which puzzles me most about this book is actually the way that it compares the technical elements of chess and music. Several times, the author’s love for the quirky leads him to the most extraordinary chess compositions to illustrate the most ordinary elements of music. One is the study by Petrovic which is presented as an example of the role of rhythm and tempo in chess:
Another is the beautiful but totally bizarre study by van Reek which illustrates the musical idea of ‘texture’:
But the puzzlement I felt reading through the lengthy chapter entitled ‘Components’ which works its way through ‘Time, rhythm and tempo’, ‘Melody and movement’, ‘Harmony’, ‘Texture’, ‘Structure’, and ‘Timbre / colour’ turned from slight annoyance to perfect calm with the realisation that this most difficult of fields, making detailed and persuasive comparison of the technical aspects of the arts of chess and music, is left open to my own blog to attempt. Keep reading my posts here to see how well I get on with trying.
Richard James is jointly responsible with Mike Fox for the utterly wonderful The Even More Complete Chess Addict (Faber: 1993). In that book, they comment, in their section on famous chess-playing musicians, that “If [they] could be reincarnated, they’d look pretty good in the European club championship (and even better at the post-match concert)”.
Fortunately for me, Richard has gone beyond his 1993 book in a series of blog posts about musical chess players. His posts are mainly historical and biographical, and if you are reading this, you ought to be reading them. They appeared intermittently in a blog called The Chess Improver, and are quite hard to find as a group. So here are links to all seven: