THE PROBLEMIST 009

7/23/2019 THE PROBLEMIST 009

1/8

tuiq-

ISSUE 9

NOVEMEMBER

1993

B

D

Stephenson,

9

Roydfield

Drive, Waterthorpe,

SHEFFTELD,

Si

9

6ND

M McDowell,

136

St.

Luke's Road,

SOUTHEND-ON-SEA,Essex,

SS2 4AG

J

R

Coward,

25

Elmwood Avenue, HARROW,

Middlesex,

HA3

8AJ

EDITOR:

EDITOR:

All

originals

printed

here take

part

in

the normal

so that

publicalion

in this

is

equivalent

to

publication

in the main

For

this

supplement, I

am

looking

for

straightfoMard

of

all types. ldeally; they

should be

pointed,

well

and have

entertainment

value.

lf

you

think

you

have anything

suitable,

please

submit it

to

me at

address above.

I

would

appreciate it if composers

problems

clearly drawn

or

stamped

on

please.

I

would also

be

happy

if composers

the

solution,

so

that

I may have a

of solving their originals. Many thanks

The

supplement

has its own

unified solving ladder

all

are eligible

to

enter it.

Prizes

are in

line with the

John Coward advises on endgame study solving,

and,

originals, Mark Ridley

presenls

a short article on

Pieces.

A short

quote

following

on from the

recent

Times

Championship.

Said

a s-year-old

after

one of the

games

on

television

-

"O

daddy,

.l

those

two

men

playing

draughts with

little

statues."

BDS

SELECTIONS

The

competitive

solver's

repertoire

should

include

ll

is

to

find

much

general

advice to

give.

In

studies,

better chess

player

tends

to

score over the

pure

and

simple, largely because

they are

to the

actual

game.

Nevertheless, they always

cleartactical

or strategic

point

-

often, as

in

problems,

a surprising one

-

and mostly within 5

6 moves,

because they normally end in about

9.

lf

you

find such

a

point, you

are either on the wrong track

else

have overlooked

the critical

black

defence.

The

rarely commences

with

the

surprise

or

'crunch'

good

reason, though the moves leading

to

it may be little more than 'introductory'

play.

Here is

excellent example.

Faced with

the

position

after Black's

5th

move, which

the whole

point

ofthe

study, the solverwould soon see

correct line

(see

solution

below).

But

working from

position

he has sooner

or

later

to

calculate that

n

il{r

SUPPLEfTIENT

THE

PROBLEfilIIST

he

can, and must,

lose

all but

his

bishop; indeed,

he

must

visualise

the

possibility

of the final

position

or

something

like

it. And the

whole line

of

play

hangs by a

thread,

since even

the

absence

of the

bPe3

would

invalidate

it.

The

introductory

play

is typical,

and

clearly

justified.

JRC

D F PETROV

Vecherny

Novosibirsk,

197

I

1.e7 BxeT

2.8d3

Qxd4

3.Rh1+

Qh4+

4.Rxh4+

gxh4+

5.Kf4

Bg5+

6.Kf3 hxgG

7

.Be2

& 8.Kg3,Kf4

#

SOLUTIONS {JULY.

1993)

PSl09

(Paslack)

1...S-/Sc6

2.8(x)c4t-;1.8a4?

0

1...S-/

Sc4 2.Bb3/-; 1.Rc3

0

1

...S-/Sc6

2.R(x)d3/Bc4 #

'W

has

nothing set for

the

correction move 1...Sc6

After

the try,

this conection

disappears,

but is

replaced

by a new

conection

1...Sc4 '

(R

Smook)

'ln

the

post-key

play,

paradoxically,

2.8c4

meets

one

move

which

refutes it

in

the set

play.'

(J

Mayhew)

'An

example

of

Secondary

Dombrovskis,

according

to the composer.'

(MM)

PS110

(Kuligin)

1.Rc5?

(2.8c7

(A)

#) 1...Se6/Sc6/Sa6l

2.8e7

(B)/Rds (C)/-;

1.Re5

(2.8e7

(B)

#) 1...Se6/Sc6

2.Rds

(C)/Bc7

(A)#

'A

feast for

the

letter

brigade here lt

would

appear that

this

shows a cyclic

pattern

idea called

the

Dombro-Lacnytheme,

as shown

by

the

letters

in

the

solution, although I

would agree with

Alex

Ettinger

that if

the

'C's

are

removed

you

are

left

with the

framework of

lhe

pseudo

Le Grand theme

James

Quah

argues

that

it

is

only a Dombrovskis

without thematic

refulations, and

that

2.Rd5

is

not

the same rook

move in both

lines

because a different

rook move is

used each time.

As the

composer indicates

nothing

of this

on his

diagram,

I

,r.ry,


2/8

suspect

that

he

simply

intended

to

show

a Zagoruyko

with

changes

after

1...Sc6/Se6

following

1.d5?/Rc5?/

Re5 '

(MM)

'Good

construclion;

no

superflous

pieces.' (S

Rothwell)

PS111

(Lang)

1...Sf-

2.Se3

#;

1.Re2

0

1 ..c4lsf-/

Sd4/Sg-/e6,e5

2.Ra5/Rd2/c4lR(x)es/SfO

#'Excellent

mutate

with

black correction.'

(K

Dewhurst)

'A

strong

debut,

equipped

with a

full

complement

of

set mates'

a

changed

mate after

1...Sf-

and an

added mate

afterthe

e

pawn moves.' (J Mayhew) 'Neat Meredith

mutate'

(JR

Coward)

'splendid key.'

(L

Vitale)

'Despite

the set

dual

after

1...Sd4,

a very

promising

start.'

(MM)

PS112

(Sokolow) 1.Kc8

0

1...8-/Rxd2/95/Rc3+/

Rd4,Rb3,Ra3/Rxd5/Re3

2.Qc7/Qxd2/Rf5ldxc3ld3ld4l

dxe3

#

'Unexpected

key.'

(LV)

'Familiar

Albino.'

(SR)

'solvers

were

bemused

as

to

the

intended

try,

as

many

atlempts fail

10 one

check.

The

composer

gives

1.Qe1?

refuted

by 1...Rc3+

(MM)

PS113

(Nikitin)1...Sd-/c4ld3/dxc3+

2.Rxc5/bxc4/Se3/

Sxc3

#;

1.Re3

0

1...Sd-/Sf-

/c4ld3/dxe3+

2.R(x)e5/

B(x)e6/Sb4/Sc3/Sxe3

#

'lncomplete

block

with

3

changes.' (SR) 'Lots

of

changed and transferred

mates.'

(JQ)

'Nice

waiter

with

changes

in the

good

old

style.'

(AE)

Ps114

(Yanuarta)

1.8e8?

1...8e5 :

1.S93?

1..Res ;

1.e5?

'1...Rf41;

'1

.d3

'1

...B-/Be5/R-/Re5/S-

2.Sxd4/Bd5/

Bds/Sxd4/Qxd7

#

'Outlying

Pd2

can

only

be the

key

piece.' (JRC)

'Solvers

seemed

to have

missed

the

point

of this

one. Two

tries are

defeated

by

Grimshaw

refutations

on e5,

while a

Nowotny

try

on the

same

square

(which

caught

a few

solvers )

fails

to 1...Rf4

Afler

the

key

there

are

reciprocally

changed

mates

following

the

random and

correction

moves

of B

and

R,

although

I

have

my doubts

as to whether

lrue

correction

play is

shown,

as

i1

seems

to

me

that the

"correclion"

moves

simply avoid

making

the random

error

(MM)

PS115

(Fabjo)

1.Q94

(2.QeO #)

1...Kc4lKxesisfs

2.Qxe4/Qg5lQg8#'Delightful

key

-

the

double-pin

mates

have

chameleon

effect.'

(KD)

'Sohiers

appreciated

the

flight-giving

key and

mainplays,

but noted

the

underused

Wforce.'(MM)

PS'116

(Saunders)'1.R96

0

1...exd5/Bxd5/h5/Sb4,Sc1/

B-/Sxg6,Sf7

2.Qe3/Qg3/Rg5/Bxc3/S(x)c4lS(x)f7

#'

A

fine

mulate,

with

changes

afler

1...exd5

and 1...Bxd5

(set

2.Qf5 and

2.Qf4

respectively).

Some

tries to

note

-

'1

.Rg7?

Bxd5 ; 1.K92?

Bxd5l

and 1.n? 596 '(MM)'Very

attractive changes.'

(RS)

'A

difficull

problem

with

an

unlikely

key.'

(JQ)

'Perfect

type

for

solving

against the

clock '(JRC)

Ps117

(Tkachenko) 1.Qb2l

(2.Rxg4

#) 1...Rf4+/Rf5+/

Rxf6+/R else+/Kxf6/Qf4

2.Rd5/Re4/Sf3/Se4/Rf4/Rd5

#

'Old-fashioned

multiple

cross-checker

wilh

a thematic

key which

permits

the

checks

and

varied

strategy

-

self-blocks

after 1...Rf4+,1...Rf5+

and

Rxf6+

and

self-

interference

mate

2.Re3. The

unprovided

flight 1...Kxf6

is

a

pity.'

(MM)

'Four

cross-checks

-

not

an

easy achieve-

ment.'(SR)'Beautifully

accurate

control

of the

W

balleries.'

(RS)

'Splendid

key

and

much

variety.'

(AW

Bowen)

PS118

(Russ)

1.Kh9?

1...a21',

1.Kh7?

1...b21,

1.971

(2.Kn7

& 2.Kh8)

1...a2 2.Kh7

& 3.98=Q

#;

1...b2

2.Kh8

&

3.g8=Q

#'The

wK waits

to

see how

the wind

blows.

(JM)

'Pleasing

logic.'

(J

Gill)'Banny

lheme

in

miniature.

Bengt

Ingre sends

for

comparison

H

Hultberg,

Sp. Comm.

(Miniatures) Problema

s,

1 990/1 2k4S/6R1 l2S5 | 1 6l3pp3l

7Kl8

#3

1.Re7?

(2.Sfl)

d2 ; 1.596?

(2.Ra7)

e2 ;

1.Ra7

1...d21 e2 2.S96/Sf7'

(MM)

PS'119

(Lynn) 1.Re7

(2.Rxes

#):

1...Rbs 2.Sxe2

(3.Sc3,S93

#)

Rb3 3.Rxe5

#;

1...Rxe7

2.Sxe2 &

3.Sc3,Sg3

#; 1...8xe7 2.Sd3

(3.Sfz

#)

Bh4,Bc5

3.S(x)cs

#;

1...8c7 2.Sd3

(3.Sc5,Sf2

#) Bb6

3.Rxe5

#

'The

Roman

theme

is

a

type of

decoy, defined

as follows: lf

White attempts

a

specific

threat

(or

threats),

a black

piece has an adequate defence. Black, on

his

first

nrove,

is induced

to

move

the

piece

in

question

to a square

from

which it

can no

longer rnake

the

original defence,

but

instead

has

a

new defence

available.

one

which.

however,

creates a

new

exploitable

weakness.

Here

1...8xe7

shows Roman strategy,

substituting

the

inferior

2...8c5

(in

range

of the

knight)

for the set defence

1...8b6

in

reply

to

2.Sd3.

Of

the

other defences 1...Rb5

and

1...8c7

lead

to the black

piece

becoming over-

loaded,

while 1...Rxe7

slmply removes the set defence to

2.Sxe2.'

(MM) 'Unexpecled

key, but a

pity

about

the

short theat.'

(AWB)'Striking

and forceful

play.'

(JM)

PS120

(Wartemberg)

1.8e5

(2.Sf4+

Kxe5/Kc4 3.d4ld3

#);

1..Kc4

2.Sf4 & 3.d3

#;

1..Kxe5 2.Sf4

& 3.d4

#;

1..Ke6

2.Sf4+

Kxes/Kfl/Kd7

3.d4lg6lc6

#

'1...Ka6

unprovided

and

the rook is underworked,

but

good

sacrificial key and

play.'

(JRC)

'Fine

key

marred

by

repetitious

second

move.'

(JG) 'Difficult

and

pretty.'

(JM)

'lnteresting

multi-

purpose

key.'

(RS)

'Nice

work.'

(L\0

PS121

(Nascimento)

1.Ra1

(2.Qb1

#);

1..e1=any

2.Rxe1

(3.Re2,Ra1

&

4.Qb1

#)

2...14 3.Re2

Kfs

4.e4 #,

2...8a3

3.Ra1

(4.Obl

#)

Bc1 4.Ra4 #'Extremely

enjoyable

to

solve and

analyse.

The

gR

must arrive on

e'l

with

a double

threat.'

(RS)

'A

Bristol line-clearance

key

followed

by

an anti-Bristol

continuation,

with the

R

then

returning

to a1,

although

after 2...8a3, 3.Ral rs an

impure clearance,

as

Ra4

#

musl

be

prepared

for

3...8c1 .'

(l\ilM)

PS122

(Postance)

1.Rf7+

KXIT

2.d8=B

Kf8

3.Kgo

Kg8

4.8e7

Kh8

5.Sf5 Kg8 6.Sh6+ Kh8 7.8f6 #. After 1...Kd6

2.d8=Q+

mates

quickly. 'Difficult

solving

with initial

sacrifice

and underpromotion.

However, the rest is weak,

mere cattle-herdingl

(Bl)

'A

peculiar

miniature wlth a

pleasant

study-like

main line.

(JM)

'Tricky

underpromo-

tion.'(S

Foulkes)

PS123

(GemmelD

1.1.h4 a2+

2.Ka1

b2+

(D

3.Kxa2

Kc2

4.Sd4+ Kc1 5.Sb3+

Kc2 6.Sd2 1-0;

(t)

2...Kd2 3.Sd4 Ke3

4.Sxb3

Kf4 5.Sd2 Kg4

6.Sf3

'1-0

'Careful

S moves defeat

the king.' (JG) 'Black counterplay

somewhat

feeble.'(RS)

PS124

(Sparrow)

1.Ra8 Rxe4 2.Rc8 Re7 #; 1.Qc3 Bxe4

2.Qc6

Bf5 #

'Nice

blend

of

unpinning

plus

self-block with

W

line

opening.'

(RS)

'Neatly

contrived.'(JG)

'Straightfor-

ward but we,l-matched.'

(KD)

PS125

(Benedek)

(a)

1.8c4

Re6+ 2.Kd5

e4

#;

(b)

1.8c4

Re6+

2.Kd5 e4

#

'Astonishing

|

got

the

joke

only when it

came

to wriling

out the

solution.'

(JM) 'Very

witty.'

(JG)

'Remarkable. My

favourite

of the

issue.'

(SF)

'Magicl'

(KD)

'Another

example

of this

amusing

idea

(by

Mr.

Benedek)

is the

following

from lhe

Problemist,

May,

1977

814p1b1hppsl1p6lB2k2tBt2p5l312b'1/1Ko

H#2

b)

90o

clockwise. 1.Kcs

Bb3

2.Bd4 8xe7 #

in both.'

PSl25

(Prikril)

1...0-O

2.92

Rbl #; 1.92 Rh4 2.93

Qbl

#

'Pleasant

reciprocal

swap

of mating/pinning functions.'

(RS)

'lnteresting

role reversal.'

(KD)

'Slight

but

subtle.'

(JG)


3/8

PSl27

(Garai)

1.Rd6

SxgS 2.Kd5 Kd3

3.BeG

Se7

#;

1.Bd6

Sxb6 2.Ke5

Ke3

3.ReO Sd7 #

'crimshaw

on

d6

and half a

Grimshaw

on e6.

Harmonious

solutions, no

pawns

and well-spaced

setting.'

(JQ) 'Executed

with

flair"'

(JM) 'Problem

of

delicate aeslhetic charm.'

(RS)

PS128

(Henkel)

1.f5

exf5

2.Ke4

dxeS=Q 3.Kxf5

Qg6

#;

1.c5

Sxcs 2.Kd4

d6=Q+

3.Kxc5

Qb6

#'Nice

echoes with

quite

sophisticated

technique.'

(AE)

'The

need

to

elimi-

nate

the

c

and f

pawns

-

and

how

to do

it

-

took

some

time

to spot.'

(JRC)

'Very

difficult solving.'

(KF

sim.

RS)

'W

pawns

on

the

board

edges

provide strange clue for

the

solver.'(JQ)

PS129

(Koludrovic)

1.Rc3 Ba6

2.Rdc4 d4 3.Rc3

dxes

4.Rdd4

Bb7

#

'Attractive

bR sguaredance.'

(JG)

'Beauti-

ful and

amusing.'

(RS)

'Neat

platzwechsel.'

(AE)

'Spent

hours

on this one.'

(JQ

sim. JRC)

PS130

(Koistinen)

1.Sd6+ Kb6

2.Sf5 Sf2

3.Ke5

Kc7

4.8d5

Kd7

5.Se4

Sg4 #

'Beautifully

forced move

sequence leads

to stylish

mid-board

ideal

mate.

(JM)

'Pieces

cleverly

re-arranged.'

(JG)

'Competent,

but

not

high in entertainment

value.'(RS)

PSl31

(Grin) 1.Be7? 1...Sb3 ; 1.Qe1? 1...Sc4 ;

1.Oh1 0

1...Sb3,Sc6

2.Sd4+

Sxd4;

1...Sc4

2.Se3+

Sxe3

'Rather

cosy

pure

waiter. I expected

more from this setting.' (RS)

'Good

key the

only

pass

move.'

(KD) 'Not

much

here.'

(JQ) 'Tend

to agree

-

no solvers

give

the tries stipulated

by the composer.'

(MM)

PS132

(Edwards)

1.Ra6

0

1...e5

2.Sc4 e4

3.Se3 exd3

4.Sd1 d2

#;

1...c5

2.Sb5 c4 3.Sc3

cxd3 4.Sd1

d2

#'Two

routes

to the same own

goal.'

(JM)

'Quiet

logic.'

(JG)

'Nice

setting of familiar idea.'

(KD)

'Perpetual

motion

-

afler

the key it is

s#4

by 1.Rb6 '

(RS)

PS133

(Kuhlmann)

5.f1=R

7.Rb6 12.f1=R

13.Rf7

14.Rfb7

Ra4

#

'An

exercise in

geometry.'

(JG)

'tdeal

positioning

of

the

wK

keeps

necessary

force

to

a

minimum.'(JQ)

'Quickly

solved,

as many

point

oul,

but a

little

beauty nonetheless.'

(MM)

PS134

(Bernleitner)

a)

1.a8=B

2.Bxe4 3.Ff3#;

b)

1.b8=S

2.Sd7

3.Sf6#; c) 1.c8=R

2.Rcxc5

3.Rcg5#;

d)

1.d8=Q

2.Qxd3

3.Qe2#

'Well

conslructed

and original

AUW.'

(AE)

'Simple

but delightful

example of

AUW.'

(M

Ridley)

'AUW

in a new

disguise.'

(JG)

'Hard-working

cook-

stopping

pawns

force the

AUW.'(JQ)

PSl35

(Turnbull)

1.Re4

(2-Rxd4

#)

1...8xe4/Rxe4/Qxe4/

Qa1/Kxe4 2.Kg4lKg6lKf6lKf4/Qf5

#

'creat

key

and

futl

use of the condition;

some

of the

"buried

treasure"

already'

(KD) 'Well

illustrates

the

genre.'

(JG)

'Fairy

chess

the way

I

like

it. Definitely

not

"beans

on toast"'

(See

commenls

to

PS82)

(RS).

'More

checkless chess

please.'(AWB)

1992 ladder.

Ottavio Ravaschietto

should

be

credited

with

81

points

for July,

giving

him a

total of 319

and

=sth

place

overall.

Anticipations.

Vladimir Kozhakin

sends the following

-

PS19

(Mayhew)

by V Sushkov,

Shakhmaty

v SSSR,

1

973

(identical position)

p22(2) (Lincoln) by V Kozhakin, 2nd Prize, Vestnik, 1990

8/QKb5l8/Bk213 I

81 1P6l 1

6 #2

1

.Qd4

p22(4)

(Lincofn)

by

T

Amirov, Feladvanykedvelhk

Lapja,

1979

(identical position)

p23(10)

(Lincoln)

by

V

Kosarev,

Znamya,1987

(identical

position)

PS51

(Mayhew)

by H Fahri, Die Schwalbe,

'1939

(identical

position)

John Mayhew sends the

following anticipation

of

his

own

PS41

by G

Heathcote,

lllustrated

London News,1891

-

K7l8l1B6l3P4l5y2./8/Q4S1P/E

#3

1.Qa7

with, after

the

key, a complete lefi

to

right reflection.

This was

quoted

in

The Guardian in

early October.

MM

ORIGINALS

Before introducing

the originals,

I

musl report

a

mistake

by me in the

stipulation

of PSl50

(Husserl)

in

the

September issue.

Part

(f)

was

clearly marked by the

composer

as H#114

but for some reason

I typed

it up

wrong.

My apologies

to

both the composer and solvers.

The

#2 under PS' 54

to

PS'|59 means

'Wto

play

and

mate in

two

moves against

any defence.' PS160

to

PSl62

are

also directmates,

but

longer.

In three of

the

two-movers

set

play

is indicated.

This

means

that

there

are

moves

by

black

in

the

diagram

position

that

lead

to

immediate mate

and form

part

of

the

theme.

lt

is

good

to

see

that

The

Supplement is encouraging

not

just

new

composers

but is

also

persuading

estab-

lished

composers

to try

different

genres.

PS163

is

Ronald

Turnbull's firsl endgame

study. White

is

lo

play

and draw.

Give all the

moves

of

the

solution

while

the

white drawing

move

is

unique

-

ie

the

only one

that

oraws.

In

the helpmates

PS'164

to

PS166,

B

plays

first

and

co-operates

with W to enable

W

to

mate B in

the

number

of moves

specified. PS165

is a

duplex,

where in addition

to the

ordinary

helpmate solution,

there

is one where

W

starts and B mates

W.

We only

have

one

selfmate this

month,

and

here In

PS167

W

plays

and forces

B to mate W in 4 moves.

The

last

4

originals

are

all examples of fairy chess.

John Mayhew continues

his Circean career

with

PS168,

a

helomate.

Circe

is defined

as follows. When caotured.

a

piece

(not

a

K) is immediatelyreplaced

on

its

square of

origin

(game

array square) if

lhat

square is empty; in the

case

of R. B or S

on

the

souare

of the

same colour as

that

on which it was captured. Thus

a wR caplured on h8

(a

B

square)

would

be

replaced

on a1,

provided

that a1

was empty; if a1 was occupied,

the

R would be removed

from

lhe

board

as in a

normal

capture. Pawns

go

to

the

initial square of

the file they are captured on.

A

replaced

R is deemed not

to

have moved for castling

purposes.

PS169

is a serieshelpmate

in 12 moves

in

which

B

plays

12 consecutive

moves

(without

W

playing

at

all) to

reach a

position

where W can

mate in one.

PS170 has

Siamese

Dawns

at d4 and e3 and

these

are tied

together such that

one cannot move without the

other moving with

it

in

parallel.

Thus if d4-d5

were

possible,

it could

only be

played

if e3-F4

could be

played

at the same

time.

We

finish

1993

with

PS171

from

James

Quah.

The

pieces

which are

half

white and half

black are neutral

pieces.

To

get

a

full

explanation

of

them,

please

read

Mark Ridley's introductory

article after the originals.

Please send

your

solutions

and comments

to

Michael

McDowell within

two monlhs of receiving

this

issue.

BDS


4/8

PS154

VKOZHAKIN&OSAKS

fRussia)

PS157 R

A

LINCOLN

(usA)

PS150 V

KUZMICHEV

/Russla)

WK,,r,ffi

"rrffiffi

#2

(set play)

68

PS155 VALEXANDROV

{Russ/a)

PS158

D M SAUNDERS

(Australia)

PS,I61

H LIEBECK

( N

e

w c

a

st

I

e-

u n

d

e

r-

Ly

m e

)

'%

L"/#,r

/Wa

%zwVe,,*"x,t%

%T,D;KN%,h

,,,ffi:

,rr/ffi

PS156

JCVLANG

(Colchester)

PS159

J

BUGLOS

(Hungary)

PS162

R C NASCIMENTO

(Pottugal)

.,rri%r.,,ffi/DK,

s'%

%A1ffi,

"fu,

''/z

A',/,8

lffiA/#.&"/.N,

"ffir,TY{"fu,i

A

#2

(set play)

t,

"/fu,

m,

%

ffirffi"'ffi,*

A

'fuffi

#4

(b)

wKc4->d4

','ffi

#2

(set play)

'"ffi.,,.,^K.,rffi,

W

,,ffi

,rrffil

#2

%

,#;

W:q,

"'fto''%o"'ffi,

't'mL

iru

"ffi,

%t

#3

TrdFffi,,,ffi,

''ffir;

'%/r.l%8

,ffi:Fm'U;


5/8

PS163

R TURNBULL

(Thornhill)

PS166

T KOISTINEN

(Finland)

PSI69

J

KUHLMANN

(Germany)

PS167

R

HEISKANEN A

J

PITKANEN

PSI65

C P SYDENHAM

(Loncton)

PSI58

J MAYHEW

(Plymouth)

H#3

CTRCE

2 solutions

PS17I

J

QUAH

(London)

PS170

YCHEYLAN

(France)

H#2

(b)

wKa5->h1

H#2

Duplex

rrffi

ffi

(Finland)

SH#l2

Nr,.ffi

Te,t",ffi

#2

Siamese Men d4,e3

#2 Neutral

men b5,94,93


6/8

70

NEUTRAL

PIECES

by

Mark Ridley

Neutral

Men is

a

fairy form that

was invented

in

1912

by T

R Dawson.

Neutrals

are

defined

as

pieces

belonging

simultaneously

to both Black

and White.

The

conseouences

ofthis

are

-

(a)

Neulral pieces

may be

moved by

the

side

lhat

is

to

move.

(b)

Neutral

pawns

are moved

up the board by

While

and

down

the

board

by

BlacK.

(c)

When

a neutral

pawn

reaches

the first rank

or

eighth

rank,

it

promoles.

The

promotion

is

to a

neutral

piece

and

the unil it

oromotes

to

is

at the

discretion

of the

side

that moves

it.

(d)

No side may

leave its own

king en

prise

to a

neutral

piece

as this

amounts

to leaving

your

own

king

in check.

(e)

White

or

Black

may

capture

a

neutral

piece.

Indeed,

a

neu-

tral

may

capture

an-

other

neutral.

(f)

Mate is

only

possi-

ble

with a neutral

piece

if

the

opponent

can't somehow

move

the mating

away

from

its

attacking

position.

(A)

is a fine

exarn-

ple

with

which to

start.

The key,

1.Sb2

threatens

male

by

2.NRxe3.

Not

only

does

this threat

open

a

battery

(mate

being

given

by

wBgT),

but

the

NR,

by

capturing

on e3

self-pins

itself,

and Black cannot

re-

turn it to e5

This type

of

self-pinning

occurs

four times

in the

main

thematic

variations

on

three more

white

bat-

tery

lines.

{B)

shows

quaternary

black correction

by a

neutral

queen.

The

key

1.Sh3,

threaten

2.Sxf2 #. Black

de-

fends

by

moving

the

neutral Queen

away

from this square.

The

primary

defence

is a

random

move

of

the

NQ. This creates

the

weakness

of

unpin-

ning

wse2 and

allows

White

to

mate

by

2.Sc3

#. Black

cor-

rects

this

error

by

playing

1...NQ93.

This

guards

c3

and

thus

prevents

the

previous

mating

move.

How-

weaknesses,

it corrects

by

providing

direct

guards

on

c3

and

95.

However, it contains

the tertiary

error of

arriving

in

range

of

c6, and

White

plays

2-NQxc6

#. Black's

quaternary

defence,

1...NQxc5

corrects against all

the

previous

errors by

guarding

c3 and

95

and by

opening

the line

a5

->

d5

(after

2.NQxc6?).

However,

it makes

the additional

error of removing

the

guard

of d4 by

the

NPc5. Thus 2.Rd4

mates.

lt

is believed that

quaternary

black

correction by a

(c)

M RrrnRscH

;'Jtj:#1"""&i?'J,"#

1st Prize, The

Problemist, 1988

thodox

two-mover.

Now let us look

at

a

helpmate

with

neu-

tral

pieces. (C)

is an

example

of a Neutral

King.

A

neutral

piece

cannot check

a

neutral

king, as that would

be

self-check.

However,

a

neutral

pawn

can as

it moves in different

directions

depending

on which

side is

mov-

ing

it.

Indeed,

a neu-

H#3%

(b)

NSeT

-> f8

(a)

1...NsegB 2.NPf5

NKg6+ 3.NKh?

NBd4

4.NPg5

NPIXO) CD *

irrr

i...NOrre

2.NKf6+

NKeT

3.NPg5

NBh4

4.NPf5

NPOXr)

ep

S

tral

pawn

is the only

otherwise orthodox

neutral

piece

that can mate

a neulral

king. This

problem

demonstrates

a mosl

original reciprocal

en

passant

capture

theme

and

was described

by

judge

Yves Cheylan as

"One

of

the

greatesl

Neulral

mas-

terworks

since the

in-

{D)

P

PETKOV & K

GANDEW vention of

the

genre

in

Schach-Echo,

jg74

1912"

So

far,

all

the

neu-

tral

pieces

we have

looked

at

have

been

otherwise

orthodox.

However,

it

is

perfectly

reasonable

for

fairy

che.ss

pieces

to take

on

neutral

stalus if

so

desired

by

the com-

poser

and

(D)

features

a

Neutral

Grasshopper

and echo mates.

H#3

(b)

ncal

-> d4

(c)

nsb5 ->

b2

(a)

1.NRa2 NGa3

2.Ka6

NSc3

3,NRb5

NGd3

#

(b)

1.NGa7

NScT

2.Ka5 NRb5+

3.Ka4 NGd?

#

(c)

1.NRa3

NGa4

2.Ka7

NSc4

3.NRb6NGd4

#

L.Sh3

r...NQ-

\2.Sxf2

#)

2

.5c3

#

2.sq5

#

2

. NQxc6

#

2.Rd4

#

2. Re?

#

ever,

1...NQ93

creates

the secondary

error of

guarding

e5,

which

al-

lows Whiteto

mate

by

playing

2.395

# even

though this move is

a

self-interference

of

wRhs.

Black conects

by

playing

1...NQf6.

Although it

contains

both

of the

previous

...NQg3

...NQf6

...NQxc5

...RfB

I...Sxg2

2.Bd3#

1, .

.

Sd3

2. Bxd3

#

1...sf3

2.gxf3

#

(A)

P

A PETKOV

1 sl Pilze,

feenschach,

197

1

#2

1.

Sb2

(2.NRxe3

#)

1...NShf2

2.NRxc5

#

1...Qx91

2.NSxe5

#

l...Qb3

2.NSxe3

#

1...Rb3

2.Nsxd?

#

1. . .

Sc6

2. Rxd7

#

1. . .

Rc4

2. dxe3

#

1...NBh2

2.NBxe5

#

(B)

r

roMrNrc

lstPrize

Mat,1981

co

,r4z

I

%'e'%

rtu

%,#ry,,.Nk;

/&ta,'#'

"'ftlL

te

":x.

'ffi,

K;'#*%'&

W

u

g

ffi

%,8%

v&g%

'"ffi,

L%%

7.N,

"ffi

%

'ffib";ffi

s

*'.,rffirnrK

T1


7/8

W

R HARTSTON

serieshelpmate

problem.

PA

PETKOV

BCF

Ty.

103, 1963

SERIESHELPMATES

(SH#)

by

Barry

Barnes

Black

plays

a series of moves

helpful

to

White so

that

position

is

reached

where

White can mate

in one.

may neither

check White

(except

on

the last

move

series) nor

move into

check

at

any stage.

The

of Black's

moves must

be invariable,

otherwise

the

is

unsound.

Problem (A)

is

a

Serieshelpmate

in

10

(SH#10)

in

which the

move

order is l.Black

2.Black

3.Black

......10.8|ack,

White

mates. The

unique

se-

ries of

ten black

moves

to

help build

a

mating

net is

1.91=B

2.h1=R 3.Rh8

4.8h2

5.8b8 6.8a7

7.Kb8

8.Kc7

9.Ra8

10.Kb8

Bf4 #. The

reasons

for

the underpromotions

to avoid

checks

on

the

wK, and

the

precise

order

of

moves

be-

comes

clear.

This was

FIDE

lM

Bill

Hartslon's

A

distinctive type

of

serieshelpmate

is

(B)

in

which White

is

able

to

mate

in

one in

the

diagrammed

position

(by

Be1

#), but

it

is

Black to

move,

and

the

mate

is

lost.

An-

othe '

mate

becomes

possible

only

after the

stipulated

sequence

of

'Serieshelpmate

in

6':

1.b5

2.b4 3.Ka4

4.Ka3

5.b3

6.b2 Be7

#. An

asterisk,

as in

SH#*,

is

sometimes

used

in-

stead

ofthe

words

'set

play'to

indicate

such

a

disrupted

mate.

A relatively

unworked

and

certainly difficult

serieshelp-

type is

problem

(C)

in

which

'set play

SH#6' tells

solver

there is

a serieshelpmate

in

6 sequence

to

be

in the

diagrammed

position

-

1.8f3

2.eRe2

3.Ke3

5.8e1

6.8f2 and

White mates

by

KfS

#.

However,

overriding

solving

stipulation

is

'White

moves

once,

serieshelpmate

in 6'. All

White moves

destrov

the

play

sequence:

only Kf4

(to

satisfy

the

'White

moves

stipulation)

makes

possible

another

serieshelpmate

6 ending

in a different

white mate

-

1.8c2

2.Rdl

3.8e1

5.Rc3

6.d3 Kf3

#.

ASM

Dickins'

and JM

Rice's The

Serieshetpmate (e

1975)

is required

reading.

(C)

C

J

FEATHER

BCM,1976

W

moves once,

lhen SH#6

(set play

SH#6)

ECHOES

PLUS

by

Michael

McDowell

Longer

helpmates

featuring

echoed mates

are very

common,

probably

because

they are relatively

easy

to

compose

(especially

with the

help

of a computer).

Although

they usually

attract

positive

comments concern-

ing

the attractiveness

ofthe

mates,

personally

I

find

such

problems

very

ledious to

solve. I would like

to

see

composers

attempt

to make

their works more

interesting

by

including

e)dra features,

and offer

here

some

examples

of my own.

(l)

incorporates

switchbacks, while

(2)

features critical

play.

(3)

has a black

platzwechset

in

one

solution

and

a

white

olatzwechsel

in

the

other.

Finally

(4)

was a

not wholly successful

attempt

to show

a

black tempo

move

in one solution

and

a

white tempo

move

in

the

other.

Can

anyone

produce

a better

example?

(1)

M

MCDOWELL

lst

Prize, ldeal-Mate

Review.

Nov.

1984

,Wfu

,/ffi

(set play)

'ffiw;ry"

"%U,,il.

H#3

2 sols

i.Sd4

Ba2+ 2.Ke4

Kd6

3.Sf3

Bb1

#

1

"

Rc4

Bh2

2

. Kd4 Ke6

3. Sc3 Bg1

#

tThe

remainder

of

Michael's

proniems

can

be

found

on the next page. -

Ed.l

ru

ru


8/8

'rufu

ffi"ril*u

(2)

M MCDOWELL

3rd

HM.. 7he Problemist,1987

H#4 2

sols

1.

Rd4 Bh7 2.Qf3+ Kg6

3. Kd3

Bf4

4, Ke4

Kg5

#

I.Qf2

Bh6

2

.

Kd4

Kq5 3. Ke3

Bf3 4.d4

KgA

#

(3)

M MCDOWELL

ldeal-Mate

Review, 1986

H#3 2 sols

1.

sb3

Kg3

2.QcI

Kf2

3.

sd2 se3

#

1. Se2

sh4 2.Kel

Rq2 3.

Qd1

sf3

#

(4)

M MCDOWELL

ldeal-Mate Review, 1985

the solulion, are

told what the stipulation

is, and

are

required

to

re-construct

the diagram

position.

They can

be a useful way

to

hone

your

constructional

skills, and

you

could find a

better setling of the

original

composition

By way

of a

Christmas

competition

hele are

two

synthetics. There will

be two

prizes,

one

for the

best

overall

settings, and

one

for the

best settings

by a

beginner

who hasn't won

the other

prize.

The names of

the

prizewinners

and

their constuctions will

be

published

in a subseouent article.

Both

(A)

and

(B)

are directmale two-movers

where

white is

to

play

and force mate in

two, and both

have

only

one solution.

The mates

given

are the only

ones

that

are

oossible.

ie

there are no duals. The

solutions

given

are not complete,

but merely

give

the thematic

variations;

that

way

solvers

will

be

more

likely

to

approach

the constructions

with the same aim as

the

original

composers.

(A)

Mate

in

2

1.Qe6

(2.Qq4

#)

1. . sd2 2.

se1

#

1.

.

Sb2 2.5d4

#

1. . Se5 2. Rf6

#

(B)

Mate in

2

Set

play

1. .

.

Sce6 2.5q4

#

1. .50eo

z.

)co

F

1. Rf4

|

(2.d4

#)

.L...sce6

2.Rf5

#

1. . . Sge6 2. Bd6

#

Please send

your

solutions 10 me,

postmarked

no

laterthan

31st March 1994,

at the address on the

front

page.

Happy re-composing

BDS

CHRISTMAS

GREETINGS

By

way

of

wishing

all

readers of The

Problemist

Supplement

a

merry

Christmas and

A

Happy

New Year, I

offer this original,

dedicated to

you

all.

Thank

you

all for

your

continued

support,

without

you

there

would

be no maga-

zine.

You

make

the

iob

worth

doingl

For

Madrasi,

see

issue

3 and

for

Grass-

hoppers see issue 1.

No space

for

more ex-

planation

or a solution

BDS

%9%z

%

'"ffi""rr,'i&ufu

*r,,rrffir,,ffi%

B

D

STEPHENSON

Original

#2Y22 sols

1. . .

Bf?

2.

BeB

Bh5 3.Bq6 Bq4

#

I.

.

.Bf'] 2

.

BcB

Bd5

3

. Be6 Be4

#

TWO SYNTHETICS

.

A

CHRISTMAS

COMPETITION

Most

readers

will have

noticed

the regular

Synthetics

column in the main

magazine. Beginners may not

have

realised

what it

is all about.

With chess

problems,

one

is normally

given

a

diagram

position,

and

the task

is

to solve

it

to

find

the

one

way

(or

ways)

in which the stipulation

may

be

met.

With

synthetics this

task is reversed. You are

presented

with

ffi

%

,,,m'

,,,m

,,,%,

Tfu

,,,ffi

'"#it"'ffi

l'"'ffit'ffi''ffi,

*2ffi',m.

q)

ll2 Madrasi;Grasshoppers

THE PROBLEMIST 009

Documents