of 8
7/21/2019 THE PROBLEMIST 010
1/8
2
TErEf
SUPPLEfUIENT
THE
PROBLEfUIIST
EDITOR:
EDITOR:
ISSUE
1O
JANUARY
1994
B
D Stephenson,9
Roydfield
Drive,
Waterthorpe,
SHEFFIELD,
519
6ND
M McDowell,
136
St. Luke's Road,
SOUTHEND-ON-SEA,Essex,
SS2 4AG
J R
Coward,
25
Elmwood
Avenue,
HARROW,
Middlesex.
HA3 BAJ
All
originals
printed
here
take
part
in the
normal
he has
seen the solution?)
ioumaments,
so
ihat
publication
in
this
is
equivalent
to
publication
in
the
main
D
J
DENSMORE
For this
supplement,
I am looking
for
straightforward
of all types.
ldeally, they
should
be
pointed,
well
and
have enterlainment
value.
lf
you
think
you
have anything
suitable,
please
submit
it to me
at
address above.
I would
appreciate
it
if composers
submit
problems
clearly
drawn
or
stamped
on
please.
I
would
also
be
happy
if composers
somehow
hide
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
magazine.
John
Coward
kicks us
off with
a solving
commentary
a classic
lhree-mover
and the
end of the
issue is
fiiled
a very welcome
articl8
from
our friend
Thorsten
from Shefiield's
twin
town
of
Bochum
in
Ger-
Thorsten
will be
pleased
to
know that
for
part
of
joumey
to work
I travel
along'Bochum
parkway'
in honour
of his
home
lown
BDS
SELECTIONS
In
a direct-mate
problem
where
black has
few
first
moves, the
solver
will be
on the lookout
for
play;
the
problem
is
probably
a
complete
or
block.
As
a
start,
he
must
spot
the black
for which
mating
lines
are already
set
(not
as
in the
longer
problems
as
in
2-movers)
and then
on finding
replies
to
blacKs
unprovided
He must
nevertheless
remember
that
some
may
possibly
be met
by
a
threat,
and
also that
mating lines
already
set can
b
changed
by the
In the
following
example
(by
the
son-in-law
of the
Sam
Loyd)
| see
slraight
away
that
1...g2
is
because
2.Qf4
95
3.Qh2 #
is OK,
but whet
2...9xf1=Q?
|
also do
not
see how
lo
meet
either
or 1...95.
Whathave
I
missed?
1..,[Sl
is already
provided
for by
2.Sf3+t ta/hy
did
I
it? Beceuse
of
the clever
placing
of
the d
-
the
-
on fl.
This deceptivelysuggests
to
the solver
the
R is
needed
afrer
1...K95
to
control
possible
squares
on
the f-file,
and
2.Sf3+ shuts
off
the
R
Who
sees
the
purpose
of
the wpds
before
Once
the solver
sees
lhat
the R is
not
used
at all in this
line
and
that
it causes
a
promising
set
line to
fail,
it
lhen becomes
clear
lhat
it can and
must be
used
in
thJ
remaining
line
-
the
unprovided
1...95.
It is easily
said, but
try
to
find
all
the
set
play
in such
positions;
it may disclose
an un-
derworked
piece,
which
is
always
the
prime
suspect
as
the key
piece.
A neat little
prob-
lem, with several
model mates
and a
surprising
key.
JRC
#3
1,
Ral-
o
L. .
.92
2.Qf4
(
)
ss
3.eh2
#
1,.
K95
2.5f3+
gf,
Kf5 3.Of4
#
Kh6,
Kf6
3.0f8
#
1. .
.95
2. Ra4
o
92
3.ee1
#
B- 3.exg4
#
soLUTtoNS
(SEPTEMBER
I 9931
PSl36
(Steiner)
1.O97?
0
Sc7
't.Q6?
0
Sd6 1.Oal?
0
Sa3 l.Qb2
0
1..S-/Sd4/exd3
2.Qb6/Qc1/Qe5
# 'Onty
at
b2
does the
Q
avoid
the conec'tion
reach of the
BS. Fine
Meredith.'
(B.P.Bames)
Ambush
necessary
otherwise
Black
closes
a crucial
line. Neatly
done.'(R.Smook) 'Nice
opposition
duel.'
(S.Rothwell)
PSl37
(Lincoln)
1.Bgl
e.ae
g
1..Kxgt/Rf8/ef3/
hxg'l
=Q,Rr/hxg'f
=S/hxg1
=B
2.Qt1
tQg{texh2lBxbT
tBtlI
Bxb7,Bf1
#
'
Exceptionally attraclive
key
yields
good
variety
(RS)
Well construcied
Meredith.
Key
provides
for
1..Of3.'(SR)
'A
profusion
of
mates flow
from a
generous
key. A
diverting
Meredith.'
(J.Mayhew)
PS13E
(Paslack)
Set
1..S-/Sxe4/Bb3
2.Sfl/So4/Sg4
#
1.BfS
(2.ReO
#) 1
..S-/Sxf5/Bb3
2.Sc4/SflSf3
#
'Recipro-
1st Prize,
Brooklyn
CC, 1913-'14
7/21/2019 THE PROBLEMIST 010
2/8
74
cal coreclion
presented
with exemplary
cladiy.'
(RS)
'A
not uncommon
switch
of WS focus,
but commendable
for
Meredith setting.'
(BPB)
'compelling
central theme,
but I
would
have
liked
a little more.'(JM)
PSl39
(Aleksandrovich)
1.ae4
(2.Qxd5
*) 1..hxgz
Sf3/Rhs/Rdl
/Rd6/Rc5/Qxe4
2.Rxh6lRxc1
/Qe6/QcZSe5i
Sd4/Bxe/t #
'Somewhat
obvious
reinforcmeni
of
the
long diegonal.'
(RS)'Well-construcled
pin-mate problem.'
(JM)
'Overwhelmingly
strong
key.'
(J.Quah)
BPB
sends
for
comoarison G.C-Quack,
The
Problemist
July
1992
4sS2/6b1
i't KR5/3ks1 O
1
/4p3l3p4
I
5PAB7 #2
1
.
Rf5
PS140
(Sokolow)
1.Se4?
f2
1.Sd3?
cxd3 1.Sdl
(2.E,e1
lBf2lBf 4lBe5lBd6/Bc7/Bb8
#) 1..exdl
/Qf2lQxe3/
Ra5/Ra61Ra7/RaAlt2
2.8,e1 lBrtzlBf4/Be5/Bd6/Bc7lBb8/
Qd5
#
'ln the
Fleck
theme each
of
White's
multiple
threats
is forced separately.
Where
only one
ihreat will
work
whatever black
plays
we have
a total Fleck;
here
the
existence of moves
such as
'1..c2
makes the
problem
an
illustration of a
partial
Fleck.
The additional
feature
is
a
new mate following
1..f2.'
(MM)
'Very
familiarthreat
separation.'
(E.Petite)
'Speclacular Fleck
with one
sdded
mate.'
(JQ) 'Rather
crowded
south-east
comer.'
(A.Will-
mott)
PS141
(Stepochkin) 1.Qa2
(2.Rxc3
#) 1..8e1+/Bf6+/Kd3
2.R93/Rg5/Rd5
#'BB
released for
neatly
paired
cross-
checks.'
(BPB)
'The long
sweeps of
the
WRs
give
this
cross-checker its character.'
(RS)
PS142
(Mayhew)
1.8d7?
(2.8b5
#)
Sc3 1.8e6?
(2.8c4
#) Sb2 1.8,94?
(2.BeZ
#)
sc3 1.8h3
(2.Bf1
#)
1..Se3ielse 2.Bd7
lBf'l+'A
fi ne lightweight,
but originality
in doubt.'
(JO) '...is
a representative
comment on this
problem.
The closest forerunner
I
can
find is by
B.Blikeng and N.A.Bakke,
v.Dagbladet 1969
483/3s4/
32l5K1pnk #3 1.8f7?
Sf6 1 .Bhs? Se5
1.896
although
the
sweeping
key
is also reminiscnt
of
H"Hultberg,
2nd
Prize Swedish
Chess Assn.
'1928
40lB7lp7lk1Ks4
#4
1.8f8 '
(MM)
PSl43
(Edwards)
'l.Rcl
(2.Rc5
and
2.Rc6)
1..8b3
2.Bxb3 and
3.8ff # 1.Bc2 2.R91
and 3.Rxh4
#
'1..f2
2.Bxd1 and 3.R95 #
'The remaining defences
lead to one
or
other of the threats. Careful
play
by W forestalls BB
checks. Decoy
elements
and
precision
timing.'
(JM)
'No
clear theme.'
(JO)
'The
double
threat is
unforlunate.'
(SR)
PSl,t4
(Sikdar)
1.h7
(2.h8=a
#) 1..8ffi
2.Rxf6
Ke7
3.h8=B Ke8/KdB 4.Kd6/Re6 1..Ke8
2.R97 Be7
3.h8=Q+
and many
4th
move continuations. 'Not difficult, but
play
after
B
promotion
is satisfyingly accurete.'
(BPB)
'lnter-
esting
play.'
(K.Funk)
'The
point
is slender,
but so is the
expenditure
of force. Just worth doing.'
(RS)
Ps145
(Kalotay)
Black
begins 1.Rf8 Re8 2.R98
Bb2 #;
1.Rb8 Rg2 2.Rb2+
Rxb2 # White begins
1.Rel
Rb8
2.Ral Bg8 #;
'l.Ka1
Rb8
2.Ra2
Rb1
#
'A lot
of
well-varied activity from
a
small
force.'
(RS)
'Not
very
harmonious,
but
a
fair
achievemenl
with this material.'
(JM) 'Quite
a few solvers
overlooked that there
were two
solulions in each
part '(MM)
PS146
(Dudchenko)
1.Qa7 Re7+ 2.Kf8
RxaT #; 1.Bgo
Rxg6+
2.Kxh7
Rxgl
#'W
interferenoe and s,veeping WR
captures
to
discover mate
give
this
problem particular
piquancy.' (JM)
'Not
quite
accurate match made this
difficult.'(BPB)
'The
fact that in each solution
a WB lies
idle came in for some criticism.'
(MM)
PS147
(Levitt)
1.K92
f3
2.K93
e4 3.K14 Kf2 4.hlB d4
#
(Solution
to the
H#5 version
in Brian's
notes: 1.K92
e4
2.Kf3 Bg1
3.Kf4
d3
/t.Kes
Kd2
5.Kd4
f4 #)
'A
surprising
sequence
-
S-move
version
preferable
for better disguise
of
mating net
without nice
but out-of-keeping
promolion.'
(BPB) 'Underpromotion
no
great
wonder
-
BK tempo
moves
preferable.'
(JO)
'auirky
suFpromotion
gives
the
edge
snd
edds charm
- s-move setting offers only
greater
economy.'
(JM)
'Last
move
a
wonderful
gag.
Better
than the
H#5
-
all
W
men
et
home and first
K
move
not forced.'
(KR
'Yes, the House
was well
and
truly divided
on
ihis
question '
(MM)
PSltlS
(Hildebrand) 1.Ra3? Rxe2 1.Rxds? esl 1.Ra6[?
d4 1.Ra8
(2.e4+
dxe4 #) 1 ..Sf2 2.Sxg3+ Rxg3 # 1 ..Rxe2
2.Se3+
Rxe3
#
1..Qxh5+ 2.Q94+ Qxg4
#
1..d4+ 2.e4+
dxe3
e.p. #
'Choice
of
key square subtly forced.'
(J.Gill)
'WPa2
gave
lhe
game
away.'
(BPB)
'Familiar
out-
of-harm's-way
type
of
key.'
(K.Dewhurst) 'lnteresting
variations.'
(JQ)
PS149
(RothwelD
1.Od1
(2.Qxc2,Qc1
92
#) 1..cxd1B
2.8d3
and
3. captures bishop
for 3..g2
#
1..cxd1S 2.h88
and 3. captures
knight for
3..92 #
'Grab
neatly introduced
by
Q
sacrifice.'
(RS)
'A
pleasure
to solve.'
(AW)
'Q could
be a R.' (A.Ettinger)'Superb key.'
(BPB)
PSl50
(Hussed)
a) 1..a88
2.Kh8 Be4
=
b) 1..e8S 2.Kh8
56
=
c)
1..e8Q
2.Kh6
afi
=
d)
l..Kes
2.Ke8
Ke6
=
e)
1..e8Q
2.Kh7
af8
=
f) t..e8R 2.Kh5 Rh8 #'As
pointed
out in the last
issue, the
stipulation to
0
was incorecl.
Any
H#2 solution
will
score
full
marks.'
(MM)
'0
is a
cheap
trick
to
complete
the AUW.'
(SR) 'The
trouble with
such
minimal
minimals is that
they
tend to be
just
that,
although
the composer
has
probably
done as much as
can be
done with such
meagre material.'(JM)
'Rather
trivial.'(JQ)
PS{51
(Mayhew)
1.Ke3
Kg2 2.Sd4 Bxd2
(BSb8)
#;
1.Se4 Be3+
2.K13
Bxe2
(BSg8)
#
'Lovely
chameleon
echo.'
(RS
sim. SR)
'Beautifully done.'
(BPB)
'Splendid.'
(KF)
Ps152
(Sobey)
8.Kxh1
WSbl)
10.Kxg3 (WBc1)
14.Kxd6
(WPd2)
1 6.
Ke4 1 9.dxe3
(WPe2)
2o.exd2
21 .d
1 R 22.Rd4
Sc3 #
'ldeal
mate,
full
use
of
the Circe condition,
a
delight
to solve.'
(KD)
'A
classic circe
sequence.
clever
pawn
work '
(BPB) 'Very
enjoyable.'(JQ)
PSl53
(Quah)
1.Q92 Lh8 2.Ob7 LgqB
#;
'l.Qh2
Lg2
2.ObB Lhhl #'Very
nice demonstration of the Leo.'
(SR)
'Elegant and dainty
geometry.' (Rs) 'classically
elegant
and
none
too easy.'
(JM)
'Nice
diagonaForthogonal
transformation.'
(AE)
MM
ORIGINALS
Before
presenting
lhis issue's
originals,
I must apolo-
gise
to the composer
of PSllS in lssue
7
(July
1993).
His name
is Fabio Bosetti
and not
B Fabio as I wrote.
The
#2 under
Psl72 to Psl77
means
'White
to
play
and
mate in two
moves against any defence.'
PSl78
to
PSl80
are also directmates,
but longer.
After
an
appetiser
from
Russia, the
inepressible Bob
Lincoln
(thanks
for
the
postcerd
from the Big Apple )
offers us more substantial
fare with PSl73
and PSl74.
Mr Lang
provides
another
solid
contribution in PSl75
and lhen
Christian Poisson
teaches
us a modem theme
with
PSl76. In
this
problem
dont forget
to look for the
try
by
White that fails to
only one
black defence. Only by
finding
this will
the solver fully appreciate
the idea of the
problem.
We
finish
off
the
2-ers with
the
traditional
PSt77 from Arthur
Willmott.
7/21/2019 THE PROBLEMIST 010
3/8
In PSITE
Mr Yanuarta
shows
us
that
pattem
pley
is
not
limited
to
the two-mover.
Once
you
have
irvritten
down
th
solution
the
pattem
should
be
clear.
Our
young
visitor from
Grmany.
Torsten
Linss,
weaves
anothei
pattem
of
a
kind
in PSl79.
pslEo,
by
Ronatd
Tumbull,
hould
present
a slemr
challenge
for
ihe solver.
The
H#2
under PSIE'
to
psl84
meens
helpmate
in
In
these
Black
ptays
fi.sl
and
co-operltes
with
to mate
Black
on his
second
move.
The firsl
three
twins
whero
there
is more
that
one position
to
solve.
notation
under
the
diagrams
ahould
be
stf-
The
S#3
undsr
PSI8S
meens
selfmate
in
three
in which
White
plays
first
and forces
Black
lo
him
on Black's
thid
move.
PSl86,
given
to
me in
Andemach
last
year
by
Norben
is
a helpmete
in
2jA,
whici
is
j
normal
in
2
but
with
a white
move
tagged
onto
the
In
Rois
Ttansmut6s
Kings in
check
move
like..the
checking
unit.
Note
that the
White
King
has
deliberately
len off
the boerd.
PSIET
is
another
minimalfrom
Gideon
Hussert.
lt
is a
in
2, which is like a helpmate,
but
the aim
the
stalemate
of
Black.
lt is a
zeropositiol
where
the
is not
for
solving,
but the
twihs
are
fomed
from
dlagram
posilion.
The
twins
here
are
(a)
bKh$>b6;
wPdT->a7;
(c)
wPd7->e7; (d)
wKrU->f4;'(e)
lhe
same
as
(d)
but
the
stipulation
is
l-f#2 end
there
are
solutions.
I
hope
for
both Mr
Husserl's
and the
sakes
that
this time
I have
made
no
enor
in
a
multi-part
composition
PS{88 (also given
to
me
at
Andemach),
with
its
composer,
b,ings
us
to
our regular
Circe
Circe
is
defined
as follows.
When
captured,
a
(not
a
K) is immediately
replaced
on its
iquare
of
(game
anay
square)
if that
square
is
empti;
in
the
of R, B or S
on
the
square
of the same'c6iour
as
on
which
it was
capturd.
Thus
a
wR captured
on h8
black
squere)
would
be
replaced
on
al,
frovided
that
empty;
if
a1
was
occupied
the
R
would
be
from
the boad
as
in
a
normal
caplure.
pawns
to ihe
initial
square
ofthe
file they
are
ciptured
on.
A
R is
deemed
not
to have
moved
for
casllino
Fairy
pieces
(like
the
black
Nightrider
on
b7j
replaced
on
the
promotion
square
of
ihe file
of
theii
Thus
if
bNbT
were
captured
on
b7
it would
be
on
b1. A
naghtrider
moves
in knight
leaps
for
leaps
as it likes
until
it is
blocked
Uy
the edge
of
or
by
a friendly
piece.
bNbT
in the
diagram
can
moveto
dE, d6, f5, h.l, c5 and
a5.
Our
busy
Treasurer
lvor
Sanders
has
found
time
to
PS{89
for
us.
lt
is
a
serieshelpmate
in
7
in
which
Black
plays
7
consecuiive
moves
White
playing
at
all)
to
reach
a
position
where
can
mate in
one.
See
Barry
Bamea'
article
in
the
issue
for
more
details
of
this
g-enre.
Send
your
solutions
and
comments
to
Michael
(address
on
front
page)
within
2
months
of
this
issue.
Happy
solving
PRESIDENTIAL
PRODUCTIONS
_
The
presence
in this
issue
of the original
pSlES
by
the
cunent President
of the
FIDE
problem
Commission.
Klaus
Wenda,
prompts
me to
show
two
prizewinning
(A)
C MANSFIELD
1st
Prize, BCM,1932
#2
].Qe2l
(2.
ee8
#)
1. .
.
Bxc5
2,Qa6
#
1...Qe3
2.sxb4
#
L...fxe?r
2.Sc3#
L...f2+
2.se3
#
'Se7
2.s(x)e7
#
(B)
J HANNELIUS
1st
Prize,
OhqvistMem.,
1950
1.e4
(
2.Rb1
6
3.ef1
#I
1...Sc5
2.sc
e
3.se3
#
1....sd6
2.sxd3
&
3.sf4
#
1,.
. .
Sd8
2. sxf3
&
3. sh4
#
problems
by
previous
Presidents
that
I hope
readers
will
enjoy.
They
were each
com-
posed
many
years
be-
fore their
composeF
u/ere
to
achieve
their
presidential
status.
(A),
is
by
the
late
Comins
Mansfield,
Grendmaster
of com-
position
and
great
master
of
the
two-
mover,
and shows
lhe
cross-check
theme
with
a
perfect
key.
Ngte
how
the key
in-
troduces
the
second
thematic
variation
1...1xe2+
and
elimi
netes
the
set dual af-
ter 1...f2+.
(B),
by
the
Presi-
dent
immediately
pre-
cding
Wenda,
Jan
Hannelius
of
Finland,
is
a
three-mover
that
illustrates
two
popular
three
and more-mo\re
2...BdE
to
guard
h4.
Such
an idea.
where
one black
piece
occu-
pies
a
square so
that
it
cant
be occupied
later
by another
black
piece,
is celled
ob-
struction.
BDS
themes
and
contains
quiet
(non-checking)
play
through-
out.
Afler
lhe
key,
any
move
by
the
bSbT
defends
against
the
threat
by
lhreatening
to
play
2...8xd5+.
1...Scs
allows
2.So4,
and
then
3.Se3
#
cant be
s{opped
becaus
2...8b6
would
be ineffective
as the bS
has
interfered
with
its
guard
of
e3. Such
interference.
where
the
piece
interfered
with
has
not
yet
moved inlo
position,
is
called
anticipatory
Interfercnce.
The second
defence.
1...Sd6,
allows
2.Sxd3
afler
which
3.Sf4 #
is unstoppable
because
the
black
bishop
can
no longerdefend
from c7.
The third
defenc,
1...Sd8,
allows
2.Sxf3 and
then 3.Sh4
# cen't
b
stopped
because
black
can
no
longer
play
BDS
CHESS
by
East
West Consultants
Results,
in
briel
of this
yea/s
competition.
were
30 and
maximum
time
allowed
i6O
minutes
A Zude,
271'lOO;2nrt
A J
Mesiel
25.5t122:3rd
J D
251122;4th
C
A McNab
201132:
sth M
/153;
6th_D
Friedgood
171126.
A full
report
wilt
appeaf
the
next Problenist.
'
'BD
7/21/2019 THE PROBLEMIST 010
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PS172
VKOZHAKIN&OSAKS
(Russ,a)
PS'r75 JCVI-ANG
(colchester)
PS178 S YANUARTA
(lndonesia)
PSt74
R A LINCOLN
(usA)
PS176
C POISSON
(France)
PSl79 T
LINSS
(Nawcastle)
PS177 A
WILLMOTT
(Australia)
PS18O
RTURNBULL
(Thornhill)
7/21/2019 THE PROBLEMIST 010
5/8
PSl8t TIGRDOSIHEBERT
(Hungary
&Gemeny)
l-t#2
(b)
bKc3->f4;
2 sols in oach
part
PSI84 C PSYOENHAM
(London)
PS{87 G HUSSERL
(lsrael)
77
P8IE2 HBFBOUMEESTER
(Nothelands)
PSIES V
TINEBRA
PSI88
KWENDA
(Austia)
PSIE3 B KOLUDROVIC
(Croalia)
PSl85 N
GEISSLER
(Gemany)
H#2%
RoisTransmut6s:
2 sols
(no
wK)
PSt89
I SANDERS
''
Wmbome)
FHl2
(b)wBfl (c)wRtl
H=2
ZeroDosition - see te)d
l-l#6
CIRCE; NightriderbT
7/21/2019 THE PROBLEMIST 010
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7A
A SHORT INTRODUCTION TO THE
BOHEMIAN GHESS PROBLEM
by Thorsten
Zirl$ttitz
In Chess Composilion, as in many other fields
of
art,
different schools developed over the
years,
each
ex-
pressing
their own
view
of how
the ideal work of art
-
in
this cese
lhe chess
problem
-
should look like. Without
going into
details
you may
have come
across
such
names
as The New German School, The
Strategic
School
or The Bohemian School, the latter being the
subject of this article.
"There
are
good
and bad
problems,
right? So why
bother
with this
highly artificial
matter
anyway?"
the
occasional
reader of
problem
columns
might rightfully
ask the author.
This
commonplace argument can hardly
be refuted.
But
it
has
to be
pointed
out that with this
view
in mind one
is likelyto miss some important features
of a
chess
problem
representing
a
specific school. What,
then,
is
so
special about
The
Bohemian School? Let us
first take
a look at a Bohemian twomover by
the
Czech
composer Joseph
Cumpe
(1666
-
1943), before we deal
with the "Bohemian essentials".
(A)
J CUMPE
Svetozor,
1929
Black seems to b
rather
tied up.
The
black king and the
pinned
knight cannot
move, and after
1...94
Vvhite has the
set
mate 2.Qxh4 #. The
only
move that doesnt
do any
harm
is
1...f4.
Since
a mere
waiting
move wouldnt
suffice.
White
is forced to take
action.
lt
is
highly
im-
probable
that lhe
white
queen's
only
task is simply
to
pin
the
black
knight.
"Wouldnl
it be nice if
the
queen
moves lo
the left
comer..." I
hear John
Beasley
murmuring. And he
is
right: 1.Qa1l threatens
2.47 # and aner
the
strong 1...Sx96
we
can
mate
with
the
f2
1...54 2.Qxh4
#
(2.8s'7
#\
2.
ohl
#
2.Bf4
*
beautiful s,witchback
2.Qhl #. Afier
1...94
we
have the
changed mate
2.8f4 #
(2.Qxh4
# in the set
play).
After investigating
the mating
positions
more closely
we soon notice
that the maies
of the
post
key
play
have
something in common:
1.
Each
square adjacent
to the
black
klng is either
guarded
by only
one white
man o. is occupied
by
a black
piece.
2. Every white
man
(except
the white kingl
takes
part
in the mating
position.
There we
go
These two features
(with
the exceptions
I will mention
shortly)
form the basis
of The Bohemian
School.
Mates which
share
the
characterislics
of
l.
are
called
pure
mates,
the ones featuring
2,
are called
economical
mates. Mating
positions
that
are both
pure
and
economical
are
lermed
model
males.
(Please
note that the
set mate 1...Qxh4
#
is not
pure
due
to the double
guard
of
h5
and
h7 by
White's
queen
7/21/2019 THE PROBLEMIST 010
7/8
o
2.Qc7+
Kd4
3.Qc3
#
2.Qb8+
Kc5 3.Qxb4
#
2.Qe5+
Kb6
3.Qa5
#
GALBULL
Prize, BCM, 1932
Th6
intelligent
key
puts
Black
into
zugzrvang.
The
three
main variations
are
given
below
lhe dia-
gram.
1
... Kbs 2.Qc7
h{xa4
3.8c6 # leads
to
a
foudh
unthematic
model mate.
we
cen
see
that
in
the
first
three
variations
the
meting
constellation
didnl change. Only
its
posilion
has been
M HAVEL
Praha. lg04
shifted
along
the
a5-e1 diago-
nal
(from
the
white
queen's
point
of view).
These
mates
are
called
monochrome
echoes.
be-
Se4
(2.
Qe8+
Kb6 3.
sc4
#)
.
.
a5 2.
Qd6+
Kb5
3. Sc3
#
2.Kb7
(3.sc5
#)
Ke6 3.Qe8
#
cause
the
colour of
th6 black
king's
square
did
not
change.
In
case the
colour
of
the black
king's
square
does
change,
the
model
mates
are called cha-
meleon echoes
(and
are
said
to be
more
difficult
to compose).
Miroslav Havel
(pseu-
donym of
Miroslav
Ko-
stal,1881-1958),
the
outstanding
composer
of
The Bohemian
School. demon-
strates
two unu-
sual chameleon
echoes with ad-
mirable
ease:
mate
of the threet is
echoed
"""
.#;"[*
"lf":
The
fine model
after 1...Kd7
is a nice addition.
Before
I leave
you
with four unforgettable
Bohemian
I
would like
to
sum
up the
principles
of
The
We have
leamed that
model mates,
conslituted
by
and economical
mates, are
the
piltars
of
every
chess
problem.
In many
compositions
echo
serve
lo emphasise
a
special
mating
position.
masters strive
for
perfec{ion
both in the
us
of
and in
lhe variations
leading
to
model mates.
This
end
lightweight
positions
on
the one
(you
will
find only
three white
pawns
in
the
of
this article)
and unobslrusiv,
if
possibl
white moves
introduced
by a surprising
key on
the
(sacrifices
ar
rarely
seen
in Bohemian
problems).
mostly takes second
place
to
the
presentation
complex mating
pictures.
The
golden
age
of The
Bohemian
School was
the end
of the
19th and
the
beginning
of the
The
possibilities
of
model
mates
in
th6 lwo-
threemover
seemed
to
be
exhausted
and
new
gnerations
of
Bohemians tried to break new
ground.
In
the course
of the following decades
we
saw Bohemian
problems
in which to some extent
strategic effecls were
combined with model
mates.
Others
tried
to harmonise
the
play
of the main variations
or to create even more
oomplex
models. The fourmover beceme
lhe main forn
of
presenting
Bohemian ideas. In defianc of all sceptical
views,
however, The Bohemian School
does live
on
-
and there is still something to
discover
"Nice
problems,
rally."
Our occasional reader of
problem
columns
might
remart
afrer
glancing over the selecied compositions
and
add:
"But
despite
their model mates " Would
you
agree
or can
you
sens
The Bohemian Style?
The solutions
to the following
problems
only
contain
the
mein variations. Try to unravel
the
by-play
ending
with
impure mates.
I'd be
delighted to receive any
comments
or
questions
conceming
the
article. My
address: Thorsten
Zi*lwi|.jz. Schwerins{rasse 45a. 44805
BOCHUM, Germany.
(E)
M HAVEL
Zata Praha. 1911
#3
1. Bc5
(2.
Rxf6+ Ke4 3. sf2
#)
1...Ke4
2.5f2+ KdS
3.Rc7
#
1-...Kf4 2.Sxf6
(3.994#)
e4 3.sd?
#
(F)
M HAVEL
1st
Prize, Czas. Czesk. Sach.,
1920
#3
1.Qe8
[2.Qa4
L.,.8c7
2.Qc6
1.
.
. sd?
2.
Qs6
(3.Qc2,
Qd1
#)
Kxe2
3.Se1
#l
(3.ec2
#)
Kxe2
3.sf4
#
(3.ec2
#)
Kxe2 3.Sh4
#
7/21/2019 THE PROBLEMIST 010
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80
(G)
VPACHMAN
'lst
Prize, SVTVS, 1954
#4
1.93
o
1...S- 2.5f3+ Bxf3
3.Sf5+
Ke4
4.d3
#
1. .
.
Sd3 2.
Sf5+ Bxf5
3.
Sf3+ Ke4
4.Qc6
#
1...Sc4
2.Qxc4+
Ke5 3.Sge4 e 4.d4
#
(H)
V
F RUDENKO
1st Prize, Czoskos/ovensky Sach, 1956
#4
1.Ba7
(2.Qc8+
Kb5 3.Qc4+ Ka5 4.Qa4
#)
1. .
.
Sc3 2. Sd7+ Kd5 3.
Qb7+
Kc4
4. Se5
*
1...Rf4 2.sc4+ Kds 3,Qb5+ Ke4 4.sd2
#
RECONSTRUCTION
WORK
Clearly
the composer's intention
is the key, 1...|Gc4+
2.Rd2 #,
and 1...fxe2 2.af7 *. In
2.Rd2
#,
b3 must be
blocked and
using
a
bB
to
do
this,
as Fink did,
giving
us
the
extra
variation 1...8xc4 2.Oxf3
#,
very
quickly
suggests
itself. But what of
the rost
of the wood scattered
around, both black and
white?
Surely less
pieces
could
be
used? Reducing
the
position
to
its essentials and
stopping
the
mates
in
one,
we
can
rapidly come up
with the ma-
trix shown
in
diagram
(B)
where the
intention works
with
the
added
1...SfE,Sf4.Se5
2.R(x)e5
#.
bBh2 could
have
been used instead
of
bsgo
but this B is the only
black
piece
able to stop
2...Rxfl
after 2.Rd2+.
Sadly there are six
cooks. The
first four are easy
to
eliminate. 1.Rd4+
Rxd4 2.Ob5 #,
cured by adding bP
at
a6. l.RxgG
(2.Rgs,BeG
#)
1...8xc4/Rd4
2.Qxf3/Rxd4 #,
cured by adding bPh7.
l.Res+
SxeS
2.Se7
#,
cured by
adding
bS at c8 and
removing bPc7.
l.Ree,l
(2.BeG
#)
1...8xc4/Rd4/Sf8,Sf4,Se5
2.Qxc4/Rexd4/R(x)e5,Se7
#,
cured by
adding
bQ
at a2 and bP at
b2 or c2. The fourth
and fifth are more intractable. 1.Re3
(2.BeG
#)
1...Bxc4/
Sf8,Sf4,Se5 2.Qxf3/R(x)e5,Se7 # and
l.Rxel
(2.8e6
#)
1...Rxe1/Bxc4/Sf8,Sf4,Ses
2.Qd3/Qxf3/R(x)e5,Se7
#.
Now we
see why Fink had
bsg2
and
wSc2. 1.Re3?
was
refuled
by
1...S2f4
when
e3
is blocked
by
the wR,
a try
ihat adds value to the
oroblem.
This means lhat
we can't
use a bS
to stop
the
1.Re5+
cook,
which in turn
means
that
wScO
is
impossible.
We will
have to settle for
the
square
guarding
used by Fink. We
also see that 1.Re1?
in
(A)
is refuted by 1...Qxe1, which seems the
only way
to do it.
Eventually
we
get
to the
sound problem (C)
which is
similar
to
(A)
but more
economical. Why
did Fink use
more
pieces?
bRh6 stops duals
2.Be5,Re5 # after
1...Sh8,Se7 and bPhTstops 1...Rh8+.
bPa4 stops
1...Qa4,Qa2,Qxa1
after which there
would be the duals
2.Rc5,Be6
#.
The only black move that allows
duals
in
(A)
is 1...Qd2
(2.Rc5,8e6
#) and
he must have been
sad
that
he
couldnl
stoo
that.
In his day
such
duals were
considered
serious
flaws.
Nowa-
days duals
after black
moves that do
not
de-
feat
ihe
lhreat are
con-
sidered
unimportant.
Thus
the
only
reason
that our
position
is bet-
ter
that
Fink's
is be-
cause
conventions
have
changed
Finally, what
about
wPbO
in
(A)?
I
think it
merely makes
the key
(A)
A
J
FINK
Pittsburgh Gazetta
nmos, 1914
1.Re2
(2.Be6
f)
1...Kxc4+
1...Bxc4
2.Qxf3
#
1...56-
...fxe2 2.af7
*
L...s2f4,
1. .
.
Qc5
2. Rxc5
#
Se3
One
way to leam
how to compose
is
to
analyse the work of oth-
ers,
finding out
the
pur-
pose
of every
piece
on
the board.
lf
one clears
the
board of all but the
pieces
needed for the
theme
and then tries io
conslruc;t
a
sound ver-
sion, it is
possible
to
leam
much about the
art of construclion. As
an example
take
a
look
at
(A),
a
famous
prob-
lem
wilh a
spectacular
key.
2.Rdz
*
2.R(xle
5#
2.s(x)e3
#
{B}
matrix
(C)
Version
by BDS
1.Re2
(2.Be6*)
1...sf8,
s6f4,
1...8xc4
2.Qxf3
# Se5
2.R(x)e5
L...fxe2 2.Qf?
#
L...s2f4,
1...Qc5
2.Rxc5
#
Se3
2.S(x)e3#
,..Kxc4+
2.Rd2
#
more unexpec{ed after the set line
1...cxb6 2.Rd6
#.
BDS
