the problemist 009
TRANSCRIPT
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7/23/2019 THE PROBLEMIST 009
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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,
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7/23/2019 THE PROBLEMIST 009
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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)
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7/23/2019 THE PROBLEMIST 009
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
-
7/23/2019 THE PROBLEMIST 009
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;
-
7/23/2019 THE PROBLEMIST 009
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
-
7/23/2019 THE PROBLEMIST 009
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
-
7/23/2019 THE PROBLEMIST 009
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
-
7/23/2019 THE PROBLEMIST 009
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
%
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