THE PROBLEfIilISTSUPPLEfiTENT

ISSUE 8SEPTEMBER 1993

B D Stephenson,9 Roydfield Drive, Waterthorpe, SHEFFTELD, S19 6NDM McDowell, 136 St. Luke's Road, SOUTHEND-ON-SEA,Essex, SS2 4AGJ R Coward, 25 Elmwood Avenue, HARROW, Middlesex, HA3 gAJ

SOLUT]ONS EDITOR:SELECTIONS EDITOR:

All originals printed here take part in the normalProblemist toumaments, so that publication in thissupplement is equivalent to publicalion in the mainmagazine.

For this supplement, I am looking for straightfoMardoriginals of all types. ldeally, they should be pointed, wellconstrucled, and have ente.tainment value. lf you thinkthat you have anything suitable, please submit it lo me atthe address above. I would appreciate it if composerswould submit problems clearly drawn or stamped ondiagrams, please. I would also be happy if composerscould somehow hide the solution, so that I may have achance of solving their originals. Many thanks!

The supplement has its own unified solving ladderand all are eligible to enter it. Prizes are in line with themain magazine.

Readers will notice the new diagrams in this issue.They are produced using the new Chessmen Laser l.ssofiware written by Timo Kallio. As they make produc-tion of the Supplement so much easier for me, I intend touse them from now on.

John Cowad analyses a difficull 3-mover below, and,after the originals, lvor Sanders and Mark Ridley presentan excellent introduction to the selfmate. We finish withsome supematural construciion, as described by MichaelMcDowell.

BDS

SELECTIONS

In a lhreat problem, every defence has by definition a'plus' (defeat of the threat) and a 'minus' (allowing adifferent mating line). ln a $'moverthe minus is hardertospot when it bec,omes apparent only after black's 2ndmove rather than his firsl. In the following exampleLarsen has clevedy used this idea as a theme - | dontknow if it could coneclly be called 'anticipatory self-block'. lt is only afrer lMs 2nd move has driven the bK toa flight square that the fatal self-block becomes appar.ent. The theme may seem simple but the composerachieves 7 vadations, with no fewer than five thematicand dual-free self-blocks.

Defences requiring a distind white conlinuation willnot necessarily lead the solver away from the key move,although he may be penalised in competition for missingany. In this problem nearly all the variations are in factalready set; the key merely activates the threat (against

which the set variations are defences) by eliminatingthepowerful 1...Bd6!, without which there would be mate in 2by 1.Q95. lt also eliminates lhe defence 2...cxd4 after1...e5/Bc3 2.Rxf3, when there lvould not be mate. but thekey pawn has no olher function, pre-key or post-key.These might be considered technical blemishes, but inlhe national solving championships only two of the topten solvers found the key against the clock (and neitherof them scored the full marks)! Perhaps (like me) theywere expecting a threal with check, especially with theQ/S battery all ready to fire; or perhaps they didn't seethe self-blocking effect of 1...B(x)cs.

JRCK A K LARSEN1st Prize, Mannheim CC Ty., 1926

#31. c5 ! l2.Qg5 &1. . . Bxc5 2. Re3+ Kxd41. . . Bc4 2, Se6+ Kxd31,..Sc2 2.596+ Kxd31. , . Bc3 2. Rxf3

Kxd41. . . e5 2. Rxf3

Kxd4ex f4

sa6,Sb5 2.Q(x)e6+

1...h6 2,Q96+2. hxg3

nxr 4nxrc

Rxd3

3.Qes #)3.s92 #

3. Se5 #(3.s- #)3. sd3 #(3.s- #)3. Se6 #3. Qxf4 #

J.5e5 *3. hxg3 #(3.as6 #)3.s- #

soLUTloNs (MARCH. 1993)PSg{ (Mayhew) 1...c5 2.8d3#; 1.Sds! 01.,-c5/Kb5,cxd5/Kxds 2.Qd3/Bd3/Bg8 # 'A pleasing miniature withsacrificial give-and-take key and neal changed andtransferred play.' (MM) 'Splendid key.' (K Dewhurst)'Nice models (after the ceptures)-' (C Vaughan)PS92 (Wartemberg) 1.Ra7l (2.Bc5 #) 1...Sd7,Sa62.R(x)ao # 'leasant give-and-take key.' (J Gill) 'Unfortu-nate that 1...Ka5 is an unprovided flight.' (S Rothwell)'Nicely keyed near miniature.' (CV) '...which is easilylransformed into a miniature by removing the superfluousbPh2!'(MM)PS93 (Mochalkin) 1.Qd7? (2.af5 #) 1...8c6/Bxe4/Be6/Qc8! 2.Qe7/Sxc4/Sf3l; LQxc4! (2.Sf3 #) 1.-.8c6/Bxe4/Bxc4+ 2.Qd4/Qxe4/Sxc4 # 'The firsl two post-keyvariations illustrate the Schor theme, in wh:ch the keymove unpins a black man and simultaneously self-pinsthe key piece; the unpinned black man in tum unpins thekeypiece which is then free to deliver mate.' (MM)'Clever self-pin of wQ leading to changed mates after1...8c6/Bxe4.' (SR) 'Looks attractive, but not manyvariations.' (ACJM van Oosterhout)PS94 (Kapustin) (a) 1.Rcd7? (2.Qxd3 #) 1...8a5!;1.Red7! (2.Qxd3 #) 1...Sxf2,Se3,S4xe5/Sf4,S6xe5/Kf32.O(x)e3lQ(xx4lBds #; (b) 1.o-o? (2.f3 #) 1...8b61;1 .Rf 1 I (2.f3 #) 1 ...Sh2,Sxf2,S4xe5/Sh4,S6xe5/Kf3 2.Qe3/Of4/Bd5 #; (c) 1.Rf1? (2.f3 #) 1...8h4!; 1.GOl (2.f3 #)1...Sh2,Sxf2,S4xe5/Sh4,S6xe5/Kf3 2.Oe3/Qf4/Bd5 #; (d)1.Rd1? (2.Qxd3 #) t...Ba5!; 1.O-o-ol (2.Qxd3 #)1 ...Sxf2,Se3,S4xe5/Sf4,S6xe5/Kf3 2.Q(x)e3/Q(x)t4lBd5#;(e) 1.O-o-o? (2.Qxd3 #) 1...895!; 1.Rd1l (2.Qxd3 #)1 ...Sxf2,Se3,S4xe5/Sf4,S6xe5/Kf3 2.O(x)e3/Q(xX4/Bd5# 'Always the same play, but instructive twinning.' (BPBarnes) 'None of these positions could stand alone.Together they constitute a nice castling problem.' (JQuah) 'A remarkable quintet.' (JG)PS95 OurnbulD 1.Qc2! (2.Rd1+ 91=any 3.Qe4#);1...91=S 2.R93 (3.492 #) Se2 3.Qe4 #; 1...91=B 2.Qd1& 3.Qf3 #; 1 ...91=Q,R 2.Rd1 (3.Qe4 #) a,R- 3.RXQ,R #'Enjoyable and artful.'(JG) 'A pity that wPc6 is necessaryin this perfectly economical setting.' (SR)PS96 (Edwards) 1.Ra4! 0 1...Sb4 2.cxb4 0 93 3.b5 #;1...Sd4 2.cxd4 Q 93 3.d5 #; 1...Sb8 2.Ra8 0 Sb-/933.Rxh8/Ra4 #; 1...Sd8 2.Ra8 0 Sd-/93 3.Rxh8/Ra4 #;1...Sxe7 2.8d8 0 Se- 3.Qxg5 #; 1...Sxe5 2.8c7 0 Se-3.893 #; 1...Sa7 2.Rxa7 0 93 3.R44 #; 1...Sa5 2.Rxa5 093 3.Ra4 # 'A splendid S-wheel - the fitst lwo variationsillustrate the Indian theme, the next four feature 3ambushes and two grab variations with s,witchback roundoff an excellenl problem.' (MM) 'The price paid is thewood wSeT but it's definitely worth ii. Probably the best#3 in the Supplement yet-' (lT Zimmerman)'Scores wellfor its aesthetic content ralher than its subtlety.' (JQ)

PS97 (Mariz) 1 .Kd3+? lKfs+? Kh2!/KgM.Kl3l (2.Kf2+Kh2 3.Sg4,Sf1 # or 2.K93+ Kg1 3.Sh3,Se2 #); 1...Kgl2.Ke2 0 Kh2 3.Sf1... 4.Sh3 #; 1...Kh2 2.K94 0 Kg13.Sh3+ Kh2 4.Sfl # 'Two nice echo varialions in asymmetrical miniature.' (SR) 'Perfect symmelry limilschoice of key.' (S Foulkes) 'Symmetrical play uninteresting.'(K Frlnk)PS98 icarai) 1 .Kds Bfl+ 2.Qe6 Rd7 #; 1.Kf5 Rfi+ 2.Qf6Bd7 #'The White pair exchange destination squares andfunctions (pinning or mating) between the solutions. Bothmates are pin-models.' (MM) 'Excellent analogy.' (KF)

'Very attractive.' (R Ravarini)PS99 (McDowell) (a) 1.Ke4 c8=Q 2.d5 Qc2 #; (b) 1.KeGc8=R 2"d5 Rc6 #; (c) 1.Kc4 c8=B 2.d5 BaO #; (d) 1.Kc6c8=S 2.d5 Sd4 # 'Combination of starflights, AUW and aselfblock. The solutions have almost perfect harmony,but the mate in (d) is not delivered by the promotedpiece.' (JQ) 'Charming AUW with fine model mates.' (KF)'Shown before, eg by V Nestorescu, 1st Prize, Revistade Sah, 1968 3K3b/1p2P3i3p2P111q1kp3/4S3/4P3/4PP2l8 H#2 (4 sols), but the model mates were the pointof PS99.'(MM)PSl00 (HolladayXa) 1...8c8 2.Rd7 Sf6 3.Rd4 Ba6 #; (b)1...Sf6 2.Kb3 Se4 3.Rc3 Sd2 #; (c) l...Bd8 2.Kb4 Sf23.Rc4 Sd3 #; (d) 1...Bc6 2.Rcl7 SgO 3.Rd4 Se5 #; (e)1...8a4 2.Rd7 Kc2 3.Rd4 Bb3 # 'Five ideal mates(models in which all the pieces on the board participate)with those in parts (b) and (c) forming an echo.' (MM)'Splendid problem - a wealth of play from slenderresources.' (KD) 'lngenious, but a trifle monotonous.'(JG) 'Black moves identical in 3 solulions.' (SF)PS10l (Shire) 1...Sb7 2.Kc4 Ke2 3.Rc5 Sxd6 #; 1.Qb6Sc4 2.Kc6 Rd7 3.8c5 Se5 # 'lmpressive contrastbetween the phases. (SF) 'Surprise sacrifice of theQueen.' (CV) 'This problem has proved surprisinglydifficult, with many solvers finding either the set or actualplay, but not both!'(MM)Ps102 (lngleton) 1.Se5 Ra4 2.Sl/ Ra6 3.e5 Bd8 #;1.Se6 Ba5 2.595 Bc3 3.8e6 Rf4 # 'Well organizeddouble checks to neutralise Black interpositions.' (JG)'Well known battery mechanisms.' (RR) 'Very simple, butwell done.'(CV)PSl03 (Libis) 1.Rc3! 0; l...Sb1 2.8c2 Sxc3 #; 1...Sc22.Se2 Sxe3 #; 1...Sxc4 2.Se2 Sxe3 #; 1...Sb5 2.8c2Sxc3 #; 1...dxc3 2.8e2 c2 #; 1...dxe3 2.8e2 Sf2 # 'Keyadds another variation to those set in the diagram.' (cV)'l like the duaFstopping role of the wQ in the 1...dxe3line.'(JQ)Ps't04 (Burbach) 1.Rhs? g4l 2.t6 #; 1.Rh1? Se3!;1.Rh3? Rxf3+!; 1.Rh2 (2.Bxd4 Qxd4 #); 1...Rxb3+ 2.c3Rxc3#; 1...Rxf3+2.e3 Rxe3#; 1...R94 2.Sxel fxel=S#;1...8c3 2.Sc1 fxel=S #; 1...Sc3 2.Rxe1 fxel=S #;1...Se3 2.Sxel fxel=S # 'Excellent tries, but a veryheavy setting.' (SR, sim. others) 'Excellent problem withsome subtle refutations.' (SF) '3 S promotions and somerook tries are good to see.' (JQ)Ps105 (Nebotovxa) 1.Kb2 b8=Q 2.Kal q53 =; (b) 1.Kb2b8=R 2.Ka1 Rb2 =; (c) 1.Kh2 b8=B 2.Kh1 Bh2= 'Youcan't ask for much more from 3 pieces.' (SF) 'Pitycomposer couldn't find a fourth fairy condition and bKtransfer to complete the AUW! (A EttingeDPs106 (Libis) 1.Kf6 KxbT 2.Ke6 Qd6 #; 1.Kf6 SxgS2.Ke6 Qd5 #; 1.Kf6 Sg4 2.Ke6 Qd7 #; 1.Kxh6 Qxf32.R97 Qhs #; 1.Kf6 KxbT 2.Ke8 QdE # 'ln each solution,the wQ is immune from caDture because it would bereborn on d1 giving check.' (MM) 'Rather strained withtoo many idle Black pieces, presumably there to stopchecks.' (JQ) 'The Qh5 mate does not fit in with the rest.'(SR) 'A problem which over-stretched itself.' (SF)PSl07 (Willmott) Intention Black 1.f3 2.Bxh2 7.e1=R8.Re5 White 2.Kdo 3.BeO 5.Kf6 6.8f5 7.K95 8.Qxl/ forKxf-/ = but there are numerous short solutions eg Black1.Rxh2 2.Rh5 3.8f6 4.Rxd5 5.895 6.e6 White 1.Qd44.Ke4 5.f3 6.Q97+ for KxgT =

59PS1oE CrumbulD 1.Sf3 Sc6 2.Se5 Sd4 3.Sc6 Rb84.Sxb8 Sxe2 s.ScO Sd4 6.Se5 Sc6 7.Sf3 Sb6 8.591'Neat and simple - Black must lose a !empo.' (SD 'Verynice discovery to add to other similar well-known ones.(CV) 'Precisely timed joke - just the thing to interestchess players! (KD)

Bill Bowen points out that the bPc3 in PS71 preventsthe cook 1.Rc5 Bc3 2.Rc8 QxdT in part (b). My ratherimprecise comment was meant to draw attention to thefact that the reborn pawn has no direct func{ion in thesolution. Thanks Bill.

MM

ORIGINALS

The #2 under PSl36 to PS14l means'Wto play andmate in two moves against any defence.' PSl42 toPS{44 are also directmates, but longer.

All our 2-movers this issue are by establishedcomposers. In PSl36, to appreciate it fully, don't foruetto look for tries by White that fail to only one blackdefence. In PSl38 there is thematic set play, that is,moves by black in the diagram position that lead toimmediate mate and that are oart of the theme of theproblem.

John Mayhew with PS142 begins are longer prob-lems. lt is a miniature O or fewer pieces) which I hopeis not anticipated. We continue with another goodproblem from Brian Edwards and an elegant s'moverfrom India.

fne H#2 under PSl45 and PSl46 means helpmatein 2 moves. In these B plays first and co-operates with Wto enable Wto mate B on his second move. PSt45 is aduplex, where, besides the normal two solutions with Bhelping W to mate, there are also two solutions with Wplaying first and helping B to mate. PS147 is a verywelcome contribulion from another top player. lt is ahelpmate in 4 moves where B's first move shouldntprove too difficult! Jonathan also offered me anothersetting of the same idea - 48/3PPP1Bl4l

PS136 P STEINER(usA)

PS139 A ALEKSANDROVICH(crs)

PS142 J MAYHEW(Plymouth)

60

PS137 R A LINCOLN(usA)

PS140 W V SOKOLOW(Germany)

PSI43 B EDWARDS(Paistey)

PS138 R PASLACK(Gernany)

PS141 A STEPOCHKIN(Russia)

PS1/t4 N SIKDAR(lndia)

'iffi

#2 (tries) #2 (Set play)

#3 (tries)

PS145 A KALOTAY(usA)

PS148 A HILDEBRAND(Sweden)

PSI5l J MAYHEW(Plynouth)

H#2 CTRCE2 solutions

PSl52 A J SOBEY(Hindhead)

PS{47 J LEVITT(London)

PSl50 G HUSSERL(tsrael)

H#2 2 solutionsLeos 91, h7

H=1% (see text)

SH#22 CIRCE

AN INTRODUCTION TO SELFMATEScy

lvor Sanders & Mark RidleYWhile the stipulation 'White to move and mate in n

moves" is well known, that requiring "White to move andforce Black to mate in n moves" may not be so familiar.This is the s{ipulalion of the Selfmate; White plays tolose as quickly as he can while Black avoids giving matefor as long as possible.

It is an old stipulation (dating from the 13th Centuryperhaps) and the eattiest problems consisted of longsingle lines ol play, but modem examples are shorterwith several thematic lines.

White moves first - the solution @nsists of a key,which may pose a threat or simply wait for Black tomove, with a number of defences by Black, and White'sconlinuations leading to Black's forced mates (in atwo-moveron Black's second move).

The construction of a Selfmate may require manymen as it must provide a mating net for White's King andrestrict the movement of Blacfs King. Often White willcompel Black to male by attacking his King, to force amating reply (typically a defence by a battery), so Black'sopportunities for flight must b limited.

Time is important to White, as Black cannot be giventhe chance to scatter his men abroad. While the keyshould be subtle, the threat and continuations are oftenforceful as Black is frequently bludgeoned into giving

(1) A WERLE3rd Comm.. Ihe Problemist. 1982

male. lvor Sanders Dre-fers the subtleties ofReflexmales.

Perhaps the besl isto approach the solvingof a Selfmate by firstdeciding on a threat forWhiie, or at least onhow a forced mate islikelyto be delivered.

In (1) the mate willclearly by along White'sfirst rank- While Whithas no obvious threat,Black has so fewmoves lhat every avail-able one can be consid-ercd.

1...bxcl=Q,R+ 2.QfL+ Q,Rxfl #1...bxc1=B 2.Qe3+ Bxe3 #1...bxcl:s 2.Qd3+ sxd3 #

2.Qf1+ Rxfl #

There is one change of continuation in the actual playfrom the set play, namely after 1-..bxc1=8. A completeblock both before and after the key with at least onechange is a mutate. White has other plausible attemptsat a first move with the Queen, but such tries fail tosingle refutations

1.Qd1? O 1.,.bxcl=S1...bxcl=B!

1.Qe1? O 1...bxc1:B1...bxc1=S!

2 . Qd3+ Sxd3 f2. Qe3+ Bxe3 #

The thematic content of the play is evident - as withall other types of problem a Selfmate is nol simply a

puzzle (though some ofthe longer ones are dif-ficult to solve) but alsoshows an idea.

In (2) White willthreaten to force matealong his first rankagain, from the firing ofthe Rook and Bishopbattery, so White usesthe key and threat todismantle his defencesagainst this battery.Less obvious perhaps isBlack's half-battery ofQueen and Pawns,though White has setreplies lo moves ofthese pawns

1...c51...d4

(2) Y AFEK1st Prize, Solidarity, 1985

2.Qc4+2. Qb51

dxc4 #cxb5 i

1. . . Rxcl+

In this example there is set play, that is, White has acontinuation already pteFrcd in the diagram for at leastsome of Black's moves. Here, as White has a set replyto every move availaue lo Black, the position is acomplete block all that White requires is a suitablewaiting move.

1.Qa6 I ( )1...bxc1:Q,R+ 2.QfL+ Q,Rxf1 #1. ..bxcl=B 2.Qh6+! Bxh6 #1...bxcl:S 2.Qd3+ Sxd3 #1. . , Rxcl+ 2.9f1-+ Rxfl #

In the nature of problems it is likely these Pawn-moves will recur as defences.

1.Sf4! (2.Qd4+ Bc4 #)1..,c5 2.Qbs+ Bxb5 #7...d4 2.Qc4+ Bxc4 #1...Qxa6 2.Qxa6+ Bxa6 #

The same de-fences and continua-tions occur in both theset and aclual play butthere is a reciprocalchange in their rela-tionship. You may notclaim "No Solution" by1.Sf4l B- # for Blackavoids mate for aslong as possible.

In (3) there is re-ciprocal change again,but this time betweenthe virtual play follow-ing a try and the ac-tual play after the key.White will threaten toforce Black to move

his Knight to defend his King, thus 2.Qc5+ Sd5 #(Black's d-pawn is pinned) - but how does White's Queenarrive at c5?

(3) W TURA3rd Prize, OlympicTy., 1984

tr7,&w'/ffi, "%zL

L,Qa1? (2.Qc5+ sd5 #) As White has no set reply to 1...e4, the key isobvious.

1.,.Qxa? 2.d4+1...Q91 2.Qd4+1...Qh1!1.Qq1! (2.Qc5+ sd5 #)1. ..Qa? 2.Qd4+ Oxd4 #1...Qxql- 2.d4+ Qxd4 #1,,,Be3 2,Qxe3* Se4#

(4) M LIMBACH2nd Ptize, The Pioblemist. 1988

(5) M CATLLAUD1st HM., Rex Multiplex, 19823

The same three defences and continuations occur inthe set and actual play, but their relationship shows acyclic shift. This is the Lacny theme and may beexpressed symbolically as 1...abc 2.ABC/BCA.

It is not unusual in direct-mates to find Black withhalf-pinned pieces in the diagram (two pieces on thesame pin-line so the movement of one from the line pinsits colleague) leading to pin-mates for White (the matesucceeds only because an opposing piece is pinned).Where mate is by Black in a Selfmate, it is White whomay have the half-pinned men and Black the pin-mates.This idea was the theme for entries to GrouD Fl of the1st World Chess Compositions Toumament WCCT) ofthe FfDE in 19725 - composers had to construct atwo-move Selfmate in which White had half-pinnedpieces in the diagram with each being pinned in at leastone variation.

Qxd4 #Qxd4 #

h (4) Vwite willthreaten to force Blackto move his Knight on94 - but will the threatbe 2.Rfl+ SfO # (havingguarded e4 and e6) or2.Se3+ Sxe3 # (havingmoved his Bishop on blto avoid mating Black)?

1.e4 !

1...Kq5(a)1. . .I(xh7 (b)1-...Kf7 (c)

o

2.Bf5(B) B- #2.Oh5 (c) B- #2. R98 (A) B- f

(6) is a later exam-ple of this idea - Whitewill probably lhreaten2.Qd4+ cxd4 # so longas he can Drevent thedefence by his Rook ond3. Black's Royal Bat-tery (the King as thefront piece) should notbe overlooked, thoughmate by it seems un-likely given White's de-fences. Here White hasthird-pinned pieces, andthe surprising keyleaves two of them half-pinned. The key is un-expected as it masksBlack's Royal battery,

reducing the likelihood of it delivering mate even further.

1.Rf6! 12.QdA+ cxd4 #)

(6) V ALATKOV3rd Prize, ShakhmatnaMysl, 1978

1. Re1? (2. Rf?+ (A) Sf6 #)1. . . Qe4 (a) 2. Se3+ (B) sxe3 #

1. Ba2 ! (2. se3+ (B) sxe3 #)1...Qe4 (a) 2.Rf7+(A) sf6 #1...Qa?,

Qb6 2.Rd5+ Se5 #1,..S92 2.hxg4+ Rxg4 #

Reciprocal change again, but this time one of White'smoves is a threat - here the threat and the continuationsfollowing the same prominent defence are interchanged.

This is the le crandtheme (7he Problemist,May 1990) and may beexpressed symbolicallyas Try? (2.A) 1...a2.8:Key! (2.8) 't...a2.4.

In (5) Vvhite willclearly threaten lo leaveBlack with only hisBishop able to move.There is again set play -White has replies al-feady prepared formoves of Black's King.

1...K95(a)1...Kxh?(b)1...Kf7(c)

2. R98+ (A) 896 #2.Bf5+(B) Bxf5 #2.Qhs+(c) Bq6 #

All four mates are pin-mates, delivered by a Royalbattery, with White's Rook on d3 necessarily pinned inthe first three variations. and his Queen in the fourth.

Those seeking longer Selfmates will find numerousexamples in the articles "Anticipatory self-pin in theSeffmaie" (The Problemist, January, 1991) and "Batterycrealion by interference in the Selfmate" (The ProblemistJanuary/March, 1 992) both by Zivko Janevski (photocotries from lvor Sanders) - but here are a couple ofexamples. Though neither is typical, as White has quietmoves in both, they may convince you that not all longerSelfmates are that difficultto solve.

1...Kxf6 2.Q95+1...Bxf6 2.QfA+1. . , Rxe3 2. Rf5+1...Qxf6 2.Rd5+

Kxg5Kxf4Kxf5Kxd5

(7) P PETKOV1st Prize. Schach. 1981

(8) E TWANOWComm.. The Problemist. 1 988

(7) is by an acknowl-edged expert in Self-mate composition. lfWhite threatens imme-diately 1.Rfl+, Black re-sponds not with 1...Sxfi#? but rather 1...Kxes!So White tries firstguarding e5 and thenthreatening 2.Rfl+ Sxfl#.

(A)AJFINK&UATANE1st Prize, Good Companions,1920

(B) F JANETChess Amateur. 1918

s#3

1.SXO/i a. .KXq/:1.d4? 1...Qxf3+!1.Sc4? 1..,bxc4l

lf White can prevenl these defences, then the trieswill succeed as continuations.

1.Qa4l (2.Sxd6+ Bxd6 3,Q94+ Sxg4#)1. . . Rxa4 2. SxdT & 3. Rf?+ SxfT #l...Qxa4 2,d4 & 3.Rf7+ SxfT #1. . . bxa4 2 . Sc4 & 3. Rf7+ SxfT #

White succeeds by a surprising Queen sacrifice.Finally (8) is a light-

weight four-mover inwhich Black is quietlyreduced to a single pos-sible fourth move. lf thisapproach is to succeed,White must self-blockb4 and then play 4.Bboaxb6 #, having pinnedBlack's Bishoo on e3and stopped the possi-ble advance of his e-pawn.

MEDIUM RAREby

Michael McDowell(A) is one of the

most famous 2-moversever comDosed. lt wasthe first problem toshow 8 selfblocks (arecord which stillstands) and miracu-lously achieved the featin mutate form. Evenmore remarkable wasthe story behind itscomposition. QuotingAC White from TheGood Companion Two-Mover- "The amazingpart of the story is thatUa Tane believes theproblem to be of super-natural origin. He had

made several seven self-blockers, and thought eightmight be possible. So he wrote Fink, suggesting the idea,and later gave the idea to another friend, who was anamateur medium. On the night he gave the idea to thisfriend, Fink dreamt the position of (A), but without anorthodox key. When this imperfect version reached UaTane, he studied it carefully and the next night the keycame to him, also in a dream. Neither composer hadever had the experience of composing in sleep before,and at least Ua Tane is convinced that the insDirationwas received by both composers through the agency ofthe medium."

A romantic and intriguing tale, but authentic? Experi-enced 2-move compos-ers would surely havebeen familiar withachievements in thefield of changed play,including the devicesused to produce keys,and the key to (A) wascertainly not new. Twoyears earlier another fa-mous Good Compan-ion, Frank Janet, hadpublished (B), which il-lustrates another lask ofsorts, the horseblocktheme (4 knight self-blocks in a 2-mover).19'19 had seen the pub-lication of the Williams

Gevers coflection of mutates Ail Change Herel, whichin cluded 3 S2sS/3 RpR 1 b I 2p4p | 4k2p I 4P p'l lA 3P 4 I 4p3 I3sB3 #2 1.Rf8 published by Otto Wuzburg in 1895 (nosource given), while back in 1878, Wuzburg's uncle,WilliamShinkman, had published s7/1Rss/3S4/SpklKp2/8lP7116 #2 1.Rb8 in the Holyoke Transcript.

My feeling is that there was no need for Ua Tane to"dream" the key and that consequently the story doesnot ring true. However, perhaps the best word should goto Alain White: "Whatever the reader may think in thematter, the problem itself is proof lhat someone was'inspired'."

1.8c5! [2.Rb4 oAA

e5 3.Q{x)e5+ Be34.Bb6 axb6 #l1...e5 2.Ra2 1)

e4 3. Qc3+ Bd2 4. Be3 Bxc3 #One cannot but feel sorry for Black as his e-pawn is

twice brought to a halt - a neat manoeuvre which earnedits composer a commend from Intemational Judge ZivkoJanevski.

Besides the occasional Selfmates here in the Supp/e-ment, Paul Valois has Selfmates (and Reflexmates) ineach issue of The Problemist itself - perhaps you couldstart by tackling just the two-movers, for Paul will bedelighted to welcome and encourage new solvers.