THE PROBLEMIST

SUPPLEMENT
ISSUE 118 MAY 2012 EDITOR: Geoff Foster 20 Allchin Circuit, Kambah ACT 2902, Australia (prob.supp@gmail.com) ORIGINALS EDITOR: John Rice 9 Manor Crescent, Surbiton KT5 8LG (jmr.64@tiscali.co.uk) Send solutions and comments to C.J.Morse 102A Drayton Gardens, London SW10 9RJ (or by email to the Editor) All originals printed in the Supplement take part in the normal Problemist tourneys, so that publication here is equivalent to publication in the main magazine. . CONTENTS A Real Puzzler, by Geoff Foster . . Original problems PS2573-84 . . Solutions to November originals . . British Helpmate Composers: D.A.Smedley, by Chris Feather . . Self-Block by Sacrifice, by Geoff Foster . Logical Solving, by Michael McDowell . R is for Reciprocal Change, by David Shire Some More Hints for the Young Composer, by Bernd Grfrath . . Fairy solutions (November) . . Fairy originals PS2585-90F . . . 205 . 206 . 208 . 210 211 . 212 . 213 . 214 . 215 . 216

A Real Puzzler, by Geoff Foster

Brentanos Chess Monthly was a superb New York chess periodical which had only a short life, appearing between May 1881 and September 1882. The problem section in the January 1882 issue covered an astounding 16 pages and included the problem alongside. Unfortunately the solution was never published, so Bob Meadley and I have been attempting to solve it. Our solution begins 1.Rxh1+ Bh4 2.Rxf1 Bg3. Whites plan is to force the bishop to h4 and then pin it with Black to play, thus forcing Black to make a pawn move. Play proceeds 3.Ra1, after which the bishop must retain guard of h4, so 3Bf2 4.Rc1 Bg3. In this sequence Whites two moves can be switched, which is regarded as a dual and is unfortunate. Now 5.Rf1 seems to force the bishop back to h4, but Black can delay things with 5Be5+! and if 6.Kxe5? f5! and Black wins, because if 7.Kf6 then 7Bd5! guards h1, or 7.Rxf5 d6+ 8.Kxd6 Kg6. Therefore after 5Be5+!, play proceeds 6.Kf5 Bg3 7.Rh1+ Bh4 8.Kf6 d6. The next black pawn move is forced using the same 6-move manoeuvre. 9.Ra1 Bf2 10.Rc1 Bg3 11.Rf1 Be5+ 12.Kf5 Bg3 13.Rh1+ Bh4 14.Kf6 a4. This continues with the black pawns being captured until B is reached after 104.Kf6. Black must keep the a-file closed, because if 104a1Q? then 105.Rxa1 and mate follows quickly once the bPd6 is forced to move: 110d5 111.Ra1 Bg3 112.Ra6 Bd6 113.Rxd6 d4 114.Kf5+ f6 115.Rxf6#. Therefore 104d5! and 110.d4!. At this point the computer can at last be used, with the solution finishing: 111.cxd4 a1Q 112.Rxa1 Bg3 113.Rh1+ Bh4 114.Rf1 Bf2 115.d5 Bg3 116.Rf3!, with a threat of 117.d6 118.d7 119.d8Q 120.Kf5 121.Qf6,Qxg5#. This could well be the first time that a complete solution to this problem has been published. The problem was quoted in Otto Blthys 1890 book Vielzgige Schachaufgaben (available on the Internet at http://www.anders.thulin.name/PDF/ Blathy_Vielzugige_Schachaufgaben.pdf), but its brief solution is only 13 moves long and has two errors!
A Gustav Reichhelm

Brentanos Chess Monthly 1882

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#121 C?

B position after 104.Kf6

wdwdwGb1 dwdwdp4r wdw0wIwi dwdwdw0w wdwdwdPg dw)pdwdw pdw)wdwd dwdwdwdR

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ORIGINAL PROBLEMS PS2573-84

Miroslav offers an example of the theme set for the 7th World Composing Tourney. In Bobs PS2574 and Jacquess PS2575 there are a number of tries to catch the unwary. Davids contribution derives from the #2 tourney set at the BCPS weekend in Harrogate last year; here too theres a close try. You will very likely find this months helpmates a fairly easy bunch, at least until you get to Joss PS2584, with its two very different solutions. For his PS2579 Jean-Franois has added a bP to prevent a third solution. Which pawn, and what would have been this solution? Was he right to eliminate it? Enjoy your solving! JMR DEFINITIONS White plays up the board in all positions. In Directmates (those problems with a #n notation below the diagram, where the n denotes the number of moves) White plays first (the key) and forces mate at latest on his nth move, whatever Black plays. Set Play is what would happen if Black were to play first in the diagram position. For instance, in a #2 there is often set play where black moves are followed by white mates and this can form part of the theme of a problem. Tries are white moves that would solve but for a single black refutation. The black defences and white mates following tries can form part of the theme of a problem. In Helpmates (those problems with a H#n notation below the diagram, where the n denotes the number of moves) Black plays first and co-operates with White to enable White to mate Black on Whites nth move. These have a single solution unless otherwise indicated below the diagram. Sometimes, the number of moves asked for in helpmates includes a half-move, such as H#2. In these helpmates the normal sequence of moves is preceded by a white move. So H#2 indicates the following sequence: 1...W 2.B W 3.B W#. An asterisk following the stipulation indicates the presence of set play, so H#2* means 1W 2.B W# plus 1.B W 2.B W#. Twins, indicated by a notation such as (b) wPe2>d3 under the diagram, are problems with more than one position for solving. Unless otherwise stated, each twin position is formed from the diagram position. Duplex problems are those where White fulfils the stipulation and then Black does. So a H#2 duplex has two solutions, the first as in a normal helpmate and the second with White playing first and being mated by Black.

All the originals published in every issue of the Supplement are computer-tested. If the computer has been unable to verify soundness, the symbol C? is shown. Otherwise solvers can assume that soundness has been confirmed. Send solutions and comments to C.J.Morse (address on front page) by 1st October 2012. Solutions and comments may also be sent by email to the Editor.

PS2573 Miroslav Suboti (Bosnia)

PS2574 Robert Lincoln (USA)

PS2575 Jacques Savournin (France)

wGwdwgBH 1pdwdwdw wdwdRdwd 0Ndndkdw Rdwdw)pd dpdwdw0w w)rdwdwd IQdwdwdw

#2

wdwdwdwd dwdwdwdw wdwdwdwd dwdwdwdw Qdw$w0wd dwdpdwdw wdwdkdwd dwdwdNIw

#2

wdwdwdwd dwdwdwdw wdwhwdwd dwHwhwdw wdwdwdwd dRdpdpdB w4PdPiwd GwdQdNdK

#2

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207

PS2576 David Shire

PS2577 Leonid Makaronez (Israel)

PS2578 Jean Carf (France

Kdwdwdwd dRHwhpdw pdwdwdwd Hwiwdwdw RdwdB!w0 dpdwdwdr wdwdwdwd gw4wdbdw

#2

wdwIRGwd dwdwdwdw wdwdwdPd dwdp)wdw wdwiwdw) dwdBdwdw wdw)Pdwd dwdwdwdw

#4

wdRdwdwd dwdpdwdw wdw0wdwd dw)P0wdw wdribdwd dwdwdwdw wdwIwdBd dwdwdwdw

H#2 2 solutions

PS2579 Jean-Franois Carf (France)

PS2580 Walter Diaz (Argentina)

PS2581 Christer Jonsson (Sweden)

wdwdKdwd dwdwdwdw wdwdwdwd dwdNGpdw wdk0wdwd dwdNdpdw w0w0wdwd dwdwdwdR

H#2 2 solutions

whwhwdwd dw)wdwdw wdwdwdwd dwdwdwdw w0wdwdwd gwdpdwdK w0wdp0wd dw4wiwdw

H#2 3 solutions

wdwdwdwd dwdwdwdw pGP)wdqd hPIBdwdr w$wdw)wd hrdPiwdw wdwdwdwd dbHwdwdw

H#2 5 solutions

PS2582 A.Pedro & Jos C.Vinagre (Portugal)

PS2583 Eligiusz Zimmer (Poland)

PS2584 Jos C.Vinagre (Portugal)

wdwdwdwd dwdwgwdw wdw1w0wd dwdwdwdw wdPip$wd dKdwdw0w wdwdwdPd dwdwdwdw

H#3 2 solutions

wdwdndkd dw0wdp0p wdwdwhw) dwdwgwdw wdwdwdpI dwdwdpdw wdwdPdwd dbdwdwdw

H#4 2 solutions

biw4wdwd hw0ndwdw wdRdwdrd dwdwdpdw wdpdw)wd dwdwdwgp wdwdq0w0 dwdwdwdK

H#4 2 solutions

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PS2519

THE PROBLEMIST SUPPLEMENT

MAY 2012

w1Ndwdwd dw$wdwdw w0rdwdwd dphwdwdw wGkdwdw4 dwdwdwdp wdw!Ndwd dRdKdwdw

#2
PS2520

SOLUTIONS (November)
PS2519 (Lyons) 1.Ba3 (>2.Rb4) S~ 2. Sd6; 1Sb7 2.Sxb6; 1Se4 2.Qd4; 1Sd3 2.Qa2. Nice correction play by bSc5 but an incomplete use of half-pin (D.J.Shire). 1...Sd3 2.Qa2 is particularly pleasing (J.Gill). Triple bS correction, with all the subsequent mates already set (A.Pereira). PS2520 (Kornin) 1.e8Q (>2.Sb6) Sbxc5 2.Se5; 1Sexc5 2.Re5; 1Rxc5 2.Qe5; 1Sxa5/Sbxd2/Bg8 2.Scxa5/Sxd2/Qxe4. Schiffmann defences on the same square and consequent mates on the same square can carry the promotion key. It is the unwanted defences by the bSe4 that hurt (DJS). A strong key controls important squares and paves the way for a plethora of pin-mates (JG). PS2521

wdwdwdwd !Ndw)wdb wdw)wdwd )w)wdwdr RdNindwd )ndp$wdw BIw)wdwd dwdwdwGw

#2
PS2522

wdB!ndwd dwdNdNdw rdwdrdw0 dRdw)kGP wdwdwdw$ dwdwdw)P wdbdwdnI gwdwdwdw

#2
PS2523

wdwdwdwd dwdwdwdw wdw0pdwd Gwdwdwdw wdwdw0Qd dpdkdwdw wINdwdwd dwdwdwdw

#3
PS2524

PS2522 (Shire) Set 1Be4 2.g4. 1.Sd~? (>2.Sxh6) Sf6 2.Qxf6; 1Sf4 2.Rxf4; 1Sxh4! #2 1.Sf6!? (>2.g4) hxg5 2.Sh6; 1Bxe5 2.Rxe5; 1Ra4! 1.Sc5! (>2.g4) hxg5 2.Qxg5; 1Bxe5 2.Sxh6; 1Ra4 2.Bxe6; 1Se3 2.Rf4; 1Bd1 2.Qd3. With that wBc8, the composers conception is virtually impossible to miss. Clever means are used to avoid the threat of the random S moves after the threat corrections by the same S. The first threat returns as a mate, after 1.Sf6? hxg5 and 1.Sc5! Bxe5, with different mates after the reciprocal 1.Sf6? Bxe5 and 1.Sc5! hxg5. Beautiful! (AP). An all purpose key, putting extra control on e4 despite shutting out the wRb5 (JG). Cute self-interference key and pretty pin-mates 1...Bxe5/Sf6 2.Sxh6/Qxf6 (VS). There are two instances of threat correction. A random move by the wSd7 pins the bRe6, thus threatening 2.Sxh6. However 1Sxh4! allows the bK to escape to e4. The wSd7 can guard e4 by playing to f6 or c5, but these moves close (different) white lines, which means that a new threat is required. The original threat returns after self-blocks on g5 and e5 (the squares masked by 1.Sf6!? and 1.Sc5! respectively). The composer points out that the wRb5 is a nightwatchman, having no function post-key (G.Foster). PS2523 (Lambrinakos) 1.Qxe6? (>2.Se1+ Kd4 3.Bb6) d5 2.Kxb3 f3/d4 3.Qe3/Se1; 1bxc2! 1.Qxf4? (>2.Se1+ Ke2 3.Qf3) Ke2 2.Se1 ~ 3.Qf3; 1bxc2! 1.Bb6! (>2.Qf3+ Kd2/Kc4 3.Ba5/Qxb3) Ke4 2.Sd4 e5/d5/Ke3,Kd3/Ke5,Kd5 3.Qf3/Qe2/Qe2/Qxe6; 1Kc4 2.Qe2+ Kd5 3.Sb4. I like the return of the bishop to a5 and the zugzwang after 1Ke4 2.Sd4 (AP). 1Ke4 2.Sd4! and the wB switchback are the touches we have come to expect from Petros (DJS). Very stunning waiting move 2.Sd4! (VS). PS2524 (Vinagre & Mariz) 1.Sh6? Bd7,Bc6 2.Sf7 ~ 3.Sd6; 1Bf7! 1.Kg1? (>2.Sh2 ~ 3.Sxf3 ~ 4.Sd4) Bc6! 1.Kh1? Bf7 2.Sh2; 1Bc6 2.Kg1 with 3.Sh6 ~ 4.Sf7 ~ 5.Sd6 or 3.Sh2 ~ 4.Sxf3 ~ 5.Sd4 depending on where the bB moves; 1Bd7! 1.Kh3! (>2.Sh2 ~ 3.Sxf3 ~ 4.Sd4) 1Bc6 2.Kh4 with the same continuations as after 1.Kh1? The wS travels from g4 to h6-f7-d6 or to h2-f3-d4 according to how Black deploys his bishop. The secret to Whites play is that he must vacate h2 and hide his K on a black square whilst keeping his options open regarding the mating route of the wS (DJS). The main plan is Sh6-f7-d6, but 1.Sh6? is refuted by the paradoxical 1...Bf7!, so White must use the king firstly to open a second front and then to force the bB to abandon its ideal post. However, great care is needed. For instance, not 1.Kg1? Bc6! 2.Kf1 Bxe4 2.Sh6 Bf5 (AP). White must avoid stalemate (JG). A difficult key and play (R.Lazowski). Cat and mouse play (VS).

wdkdwdwd dpdRdwdw wdw!wdwd gwdwdwdw wdwdwdwd dwdwHwdw wdwdwdwd dwdwdwIw

PS2521 (Lincoln) 1.Qd5? (>2.Qxb7) Bc7! 1.Sc4? (-) b5! 1.Sd5! (>2.Se7) Bb6+ 2.Sxb6; 1Bc7 2.Qxc7; 1Bd8 2.Rxd8. The key eyes two critical squares rather than one (JG). Only 1.Sf5? can be a try despite a very evident refutation, as 1.Sc4? has multi-mates in variations (V.Satkus). Intuitive key, at least for a former player (AP).

wHwdbdwd dwdwdwdw w0wdpdpd dkdw)w)w w)pdP0Nd dw)pdpdw wdw)w)wI dwdBdwdw

#5

MAY 2012

THE PROBLEMIST SUPPLEMENT

PS2525

209

PS2525 (Medintsev) 1.Bg4 Se6 2.Kf5 Qh7; 1.Rd4 Sd5 2.Kxe5 Qe7. The layout of the white pieces immediately suggests the solutions but this is an exquisite construction (DJS). Busy wS activates Q while cutting lines of B/R, both of which pieces have cook-stopping roles. bBd1 is also a cook-stopper, but bRd8 has no role outside its own solution (C.Tylor). Very modern conception, a huge white fortress on the battle-field (VS). The first solution in particular is an exercise in remote control (JG). Two attractive mates (C.C.Frankiss). PS2526 (Piet) 1.Rg2 Bh6 2.Kg4 Qg5; 1.Sf3 2.Rd5+ 2.Ke4 Qd3; 1.Sc6 Rd6 2.Ke5 Qd5. Three Bristols. Naturally the B1 interference and self-block by the bSd4 were tried first. Then the precision of 1.Rg2! gave great pleasure (DJS). All B1 moves allow a white Bristol, but their secondary purposes are different (AP). Subtle 1.Rg2 solution PS2526 complements the other two nicely (CT). Black opens bdwdwdwd lines for white pieces (VS). Pleasantly varied play dwdwdwdw (JG). Again clever and attractive mates (CCF). PS2527 (Vinagre) 1Bd4+ 2.Kd3 Sc3 3.Bb4 000; 1Be5 2.c3 Sd2 3.c2 Rxa3. Nicely matched castling and non-castling solutions, with pairs of different moves by the 3 white officers (CT). Very nicely constructed (RL). Simple and pretty play in nice setting (VS). Imaginative (AP).

wdB4wdwd !wHwdwdw wIpdwdwd $wdw)wdw wdwdkdwd dwdwdwdw wdwdwdwd dwdbdwdw

H#2 2 solutions
PS2527

wdwdwdwd dwdwdk4w w0whwdwd dwdRGwdw wdw!ndwd dKdwdwdw

wdwdwdwd dwdwdwdw wdwdwdwd dw0wdwdw wdpdwdwd gwGwiwdw wdwdwdwd $NdwIwdw

H#2 2 solutions
PS2528

H#2 3 solutions PS2528 (Jones) 1.Kf6 Se7 2.Bg4 Sg8+ 3.Ke6 Bxg4; 1.Kd7 Bf1 2.Rf6 Ba6 3.Ke6 Bxc8. The bK steps out of the way for bB and bR before returning to its starting square. Yes, we know what to expect but its well crafted! (DJS). The bK is the caretaker who opens and closes the doors. The Rh7 guards the wrong door on the 1.Kf6 solution (AP). White mates from different edges of h3-c8 diagonal. White actions are not identical, but the problem is pleasant (VS). bK switchbacks allow differently motivated bB/R to pass, wB capture/mating from opposite directions (CT).

PS2529 (A.P. & J.C.Vinagre) 1.e2 Kxe4 2.e1B Kd5 3.Bb4 Bd3; 1.Rb4 Ke5 2.Kxc5 Be4 3.b5 Rc6; 1.Kc4 Ra2 2.Kd3 Rc2 3.Re5+ Kxe5. The three white pieces mate in turn (DJS). A study of the combined power of K, R and B, with each of these pieces making the last move in one of the solutions (AP). 3 very different lines, with the B promotion the least PS2529 interesting (CT). Quite a struggle to solve (JG). What is the common feature of solutions? Maybe wdbdwdwd only a blend of R+B mates (VS). 0pdwdwdB

wdbdwdwd dwdwdndr wdw4kdn0 dwdp0Ndw wdwdwdwd dwdwdwdB wdwdwdwd dwdwdwdK

H#3 2 solutions
PS2530

Rdwdndwd PS2530 (Jonsson) 1Bh1 2.Rf5 Kg2 3.Ke4 dk)wdKdw Kg3+ 4.Ke5 Sf7; 1Sb7 2.Ke4 Sc5+ 3.Kf5 Bd5 4.e5 Be6. The interferences on b7 and g2 at different wdwdrdwd ends of the long diagonal have a certain appeal, as dwdw0wdw do the self-blocks timed for Blacks first and last wdwdwdwd moves (DJS). The black king goes through two dwdwdwdw white batteries that fire from different edges of the H#3 3 solutions long diagonal. Spectacular play! (VS). Mates with each piece after neat diagonal play (JG). Quite difficult, but a pleasure to solve (AP). Two batteries created in course of play with good mates (CCF). wB shut off from opposite directions to allow bK to pass (CT).
Welcome to new commentator lvaro Pereira of Portugal!

BdwHwdwd dwdwdwdw wdwdphpd dwdwdw0w wdw0w4wd dwdkdwdw wdwdwdwd dwdwdwIw

H#3 2 solutions
Bror Larsson

Tijdschrift v.d.KNSB 1946

There is room to quote another helpmate. In the problem at right the queen has to get to a7. The white king plays a crucial role, for if 1.Qa8? Rxb7+ 2.Ka6 and now 2Rb8?? is illegal because the rook is pinned diagonally! The solution involves an unexpected clearance: 1.Qh7 Rxb7+ 2.Ka6 Rb8 3.Qa7 axb5.

D D DqD DnDWDW$W WiW0W0WD 0pDWDWdW PDWDWDWD DWDWDWdW WDWDWDKD DWDWDWdW

H#3

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BRITISH HELPMATE COMPOSERS IV: D.A.Smedley *1933 (BCPS President 1993-5)

(by Chris. Feather, but with many thanks to Don himself for his help) Don Smedley, the fifth helpmates editor of The Problemist, took over after John Drivers death in 1979 and carried the column through until 1995, a period during which there was an enormous increase in the number of regular solvers. With characteristic modesty he does not attribute that to his own success but suggests that those times were simply the heyday of the helpmate well, that raises a question which is too big to go into here! Anyway, Dons achievements extended beyond encouraging solvers and involved helping many new composers, as evidenced by the joint attributions of the problems which I am quoting. In view of my title I have restricted the quoted collaborators to Britons, but there were plenty of overseas composers and solvers who were helped by Don too. He gave a number of society lectures on helpmate themes; the cover of the July 1995 magazine has a good photo of him lecturing at the Oxford 1994 meeting. He also organised a number of special end-of-year competitions which proved popular, and I seem to remember his granting me an appearance on one occasion under the ingenious pseudonym of S.Claus. When I asked for Dons help in preparing this article it arrived in the form which I was expecting: much more about other people than about himself. Thus he left me largely on my own when it comes to describing his helpmate-composing style and achievement! He recalled occasions and friendships but laid no claim to any special manner or expertise; on careful reflection I have decided not to foist any onto him either, for the problems speak for themselves; E especially gives some good hints. And all I shall say about him personally is that he is a retired academic from Loughborough University, with a refreshing sense of humour and a great fondness for bridge as well as chess. Even that is probably more than he would have wished me to write! Studying Dons works (not just helpmates: he seems to be able to compose in any form which seizes his fancy) I have the impression that he does not seek out ideas but that they find him, whether as suggested by others, as proposed in theme tourneys or simply as encountered by accident. Once the idea is there, however, heurism takes over: he is a miner who hates to miss any particle of gold in the seam. He suggested to me as an example a zeroposition problem with a wildly ambitious scheme, perhaps still regretting that he might possibly have missed the odd grain there. However as an example of heavy artillery I prefer to show A, where an orgy of pins and unpins is skilfully controlled and enhanced with an AB/BA switch in the first pair of white moves. Note the use of the then still unfashionable A D.A.Smedley & E.W.Beal half-move form. Dons collaborator here, Edward B D.A.Smedley The British Chess Beal, an occasional helpmate composer, was a The Problemist 1973 Magazine 1985 stalwart supporter of the column for many years.

wdbdwdwd dpdwdw0w wdp0wdpd dwdwdpdw w0n4wdwd dwgk4R!K wdwhp1wd dwdwdwdw

H#2.5 (b) Bc3>e5

wdwdwdwd dwdwdwdw wdwdwdwd 4wdndwdK wdB)kdPd dwdRhw)w wdwdwdwd dwgwdwdw

H#2 (b) Kh5>h6
D C.J.A.Jones & D.A.Smedley 2 Pr

C J.S.Finch & D.A.Smedley

1 Pr The Problemist 1985

Problem Observer 1987

wdw4wdwd dwdpdwdw wdw0wdwd dwiwdwdw wdwdw)w4 0pdwgwdw pdwHP0Bd Iwhwdwdw

H#4 3 solutions

w1wdwdbd dwdpdRdp wdw)wdw0 dw0KdwGr pdp)Pdw0 iwdwdwdw pdwdwdwd drhwdwdw

H#2.5 2 solutions

A contrast is provided by B, which is Dons first correct helpmate: not many new composers manage something so neat and thematically well unified as this example with its gate-openings and lineswitching black knights. In 1995 John Rice wrote of this problems elegance and freshness that still appeal; it remains true. The idea of C, originally in two-solution form, came from a composer who had sadly all too short a career, dying at an early age. Without Dons expert help John Finch would surely not have managed to extend and complete this remarkable task of three tempo moves in different directions by the white bishop. Don remarks theres still plenty wrong with the problem, especially the repeated third moves, but it can easily carry that, as its tourney success shows. Problem D gives me the chance to bend my own rule of including only composers older than me, by featuring a joint composer who will be well known to readers. Don writes One of the compensations of being a column editor is that occasionally a composer of outstanding promise comes upon the scene. I had the good fortune of being able to help Christopher Jones realise some of his exciting ideas during his early career as a problemist. Thus the

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THE PROBLEMIST SUPPLEMENT

E D.A.Smedley

211
F M.Donnelly, J.E.Driver & D.A.Smedley

seventh (and current) editor of the helpmate column makes his appearance! It is hard to find any fault in this perfectly balanced piece of strategy unless it be the capture on c1, but the rich content unpins, pins and mutual black interferences both on the b-file and in the Grimshaw on the white kings initial square certainly makes that unimportant. Especially attractive and modern is the way in which the strategy naturally produces another AB/BA effect, this time in the last pair of white moves. Its hard to imagine what the 1st Prize problem must have been like!

Whodunit? Competition Kingston 1999

2 Pr The Problemist 1980

wdwdwdwd dpdwdwdw wdwdw0wd dndKdpdw RdwHNdpd dpdwibdw wdw4wdwd Gndw4wgw

wdwdwdwg dwdw0wdw wdbdpdw1 dw0wiwdw wdpdwdpd dpdwdwdw pdwdw$r4 Iwdwdwdw

H#2 2 solutions H#5 By way of conclusion I cannot better the remark I made in the magazine of September 1995 on taking over from Don as helpmates editor: (Don) wrote characteristically Im not really a helpmate composer but the problems say otherwise.

E and F are for solving (solutions on page 213). Solutions: A (a) 1Rxf5 2.Sf3 Qxg6 3.Rg4 Rd5; (b) 1Qxg6 2.Bg3 Rxf5 3.Re6 Rf3. B (a) 1.Sf5 Rf3 2.Sde3 Rf4; (b) 1.Sf4 Be6 2.Sed5 Bf5. C 1.Rh6 Sf3 2.Kd5 Bh1 3.Bc5 e3 4.Re6 Se5; 1.f1B Se4+ 2.Kd5 Bf3 3.Bc5 e3 4.Bc4 Sg5; 1.Rc8 Bh3 2.Kd5 Bf1 3.Bc5 e3 4.Rc6 Bc4. D 1Kxc5 2.Rb3 Rf3 3.Bd5 Bxc1; 1Kxc4 2.Qb2 Bxc1 3.Rd5 Rf3.

Self-Block by Sacrifice, by Geoff Foster

The key of the task problem A is 1.Se4 (>2.Re8), an eight-fold sacrifice of the key piece leading to 8 distinct mates: 1dxe4 2.Bd4; 1fxe4 2.Qe6; 1Bxe4 2.d4; 1Qxe4 2.Qh8; 1Rxe4 2.Qxf5; 1Scxe4 2.Rxd5; 1Sfxe4 2.Sxd3; 1Kxe4 2.Re8. The first three of these variations, in which Black opens a white line, are especially good. The key grants the black king a flight, which is necessary in order to give the eighth sacrifice by 1Kxe4, but a flight square is important for another reason without the flight square, random moves of the black pieces would lead to a choice of mates. For example, after 1Qg1 there would be a choice between 2.Qh8 and the threat 2.Re8. The fact that the captures of the sacrificed piece are also self-blocks ensures complete accuracy. Actually this is not quite true; after 1Rh4 there is a choice between 2.Qxf5 and the threat, because 2.Qxf5 guards the flight square and no self-block is necessary.

A Arthur Mosely

1 Pr Northern Whig 1912

wdB$wdKd dwdwdwdw wdPdwdwd dwdpip)w wHwdw4wd dwhbGwHQ wdw)whwd dwdwdwdq

#2

B Godfrey Heathcote Although B has a similar key and threat it is an entirely different type of 1 Pr Block-Threat Ty problem. Every black move has a set mate, making it a complete block: 1Q~ American Chess Bulletin 2.Qxh7,Sf2; 1B~ 2.Qb1. The block cannot be maintained so the key makes a 1911-12 threat, making the problem a block-threat: 1.Sd4 (>2.Rg4) 1Qxd4 2.Qxh7; 1Bxd4 2.Qb1; 1exd4 2.Qxd5; 1Kxd4 2.Qb4. The four variations are all wdwdwdwd captures of the sacrificed key piece; two of the captures bring back set mates, 1Qdwdwdp while the other two lead to unexpected new mates. In the set play the black queen wdw0NdwI focuses the squares h7 and f2, so that any move by this piece relinquishes control dwdp0w$w of at least one of these squares, allowing mate. The wSh3 guards f4, which could wdwdkdwd be done just as well by a wPg3, but the set mate 2.Sf2 would then be lost, so the dwdwdwdN use of the knight is fully justified. The set mate 2.Sf2 disappears after the key wgw)Pdwd (subtracted play is an unfortunate necessity in many block-threats). In problems in which the black queen focuses distant squares it is often hard to find a safe square dwdwdwdw for the white king, but here the white king has been put to good use in stopping #2 the potential cook 1.Qb3. The block-threat form can be difficult for the composer because any black move can potentially be met by either the set mate or the threat. This is one reason why block-threats are so much rarer than mutates. The most common way to achieve accuracy is to have a flight-giving key, as in this example. After the key, random moves by the black queen and bishop dont allow the set mates; it is only when the key piece is captured, selfblocking the flight square, that the set mates return.

212
C Ottavio Stocchi

THE PROBLEMIST SUPPLEMENT

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LItalia Scacchistica 1953

w$w$BIwd dwdwdpdw wdwdP0wd Hpiwdwdw P4pdwdwd )pdwdwHw whrhwdpd GQdwdbdw

#2
D Murray Marble

At first sight C has much in common with the first problem, but once again it shows an entirely different theme. Moselys problem had set play, which wasnt given with the solution, but in this case it is worth making the set play explicit, for reasons soon to become clear: 1Sb~ 2.Bd4; 1Rxa4 2.Rxb5; 1bxa4 2.axb4; 1Rc~ 2.Qf5; 1Sd~ 2.Se4; 1B~ 2.Qg1. The key is a seven-fold sacrifice of the knight: 1.Sxc4 (>2.Rbc8) 1Sbxc4 2.Bd4; 1Rbxc4 2.Rxb5; 1bxc4 2.axb4; 1Rcxc4 2.Qf5; 1Sdxc4 2.Se4; 1Bxc4 2.Qg1; 1Kxc4 2.Rbc8. There is six-fold mate transference from set to actual play, a task record. The mates set for moves of six black pieces are transferred to different defences (capture of the sacrificed knight) after the key. The wPa4 is only there to enable the set defence 1bxa4, but that is reason enough for its presence. So why is there mate transference in this problem, while nobody has ever suggested that there is mate transference in the first two problems? The answer is the black pawn on c4, which is captured by the key. Before the key it is not possible for the black pieces to move to c4, so the post-key captures on c4 are regarded as completely different moves from the random moves of the set play. In the first problem it can hardly be claimed that 1Qxe4 2.Qh8 shows mate transference, because this exact move (minus the capture) was already present in the set play. The difference is a slender one, so in my opinion this is the least interesting mate transference mechanism, although it does allow many thematic variations.

La Stratgie 1908

So why not add a similar black pawn to the first problem, creating a new task record with a minimum of work? This leads to some cooks, which could possibly be fixed, but it is not worth the effort because of some fatal flaws. A bPe4 would give an unwanted guard of d3, so there would be no set mate after 1Sf~ #2 (2.Sxd3?) and 1B~ (2.d4?). In addition the bPf5 is blocked, so this piece has no set mate. A similar story unfolds if we try to adapt other multiple-sacrifice problems. For example, D has a seven-fold sacrifice: 1.Be4 (>2.Qxd5). A bPe4 could be added without introducing any cooks, but there would be only four instances of mate transference, an indication of the magnitude of Stocchis achievement.
Viktor Zheglov

Qdwdwdwd dwdwdwHw K0wdwdBd dwdp0whw wdwiw4wd 0w$wdwdR wdwdrhwd Gwdwdwdq

1 HM Suomen Tehtvniekat 1998-99

Logical Solving, by Michael McDowell

Ever solved a helpmate in 12? Think it may be beyond your capabilities? Maybe not. Let us examine this problem by Viktor Zheglov.

With only five pieces on the board a reasonable starting point is to try to construct a mate. Clearly a midboard mate is out of the question. A sideboard mate looks possible, if the K is blocked on either side, however one of the selfblockers would have to be the promoted pawn. Q or R would frustrate a check, and a S would check the wK, which must stand directly opposite the bK. A selfblocking B would have to stand on a black square, but the P will promote on a white square! So by process of elimination we know that the bK must stand in a corner, either a8 or h1, with a S blocking an adjacent black square, and the wK a knights move away from the corner. How can we determine which corner is the H#12 correct one? There are two ways. We can examine if it possible to reach the mate. For example, if we try to construct a mate with bKa8, bSa7, wKc7 and wBb7 we find that it takes twelve moves, five to get the K to a8, six to promote and guide the S to a7 and one to remove the Q guard of c7. Unfortunately as Blacks last move must either be Sb5-a7 or a Q move away from e5, one piece will still be attacking c7, where the wK must already be standing! Alternatively we can ask ourselves If the mate takes place on this square is it likely to be reached by a unique sequence of moves? As a general rule the nature of help-play implies that there will be interplay between Black and White, rather than each operating independently of the other. As the white pieces are already in that area of the board we can dismiss a8 immediately, so the bK must be mated on h1. It takes six moves to get there plus another six moves for a S to block, so the Q will never move. This tells us that the mate must be wKf2 and bSh2, as on g3 the wK would be in check. Now we can try to determine how the mate is reached. The wK will obviously need assistance to get past the Q. The north-eastward route can be eliminated, as again there could not be a unique move order, so the K must reach f2 via c4. If it reaches f2 with the help of the B providing shields at d5 and e4 we run into the problem that the bK cannot already be on h1, but equally cannot get past the K on f2. If the B cannot help the wK to c4 then the bK must do the job, and visiting d5 also

wdKdwdwd dBdwdwdw wdwdwdwd dwdw1wdw w0wdwdwd dkdwdwdw wdwdwdwd dwdwdwdw

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provides a unique sequence for the K to reach h1. The opening moves must therefore be 1.Kc4 Ba6+ 2.Kd5 Kb7. While waiting for the wK to arrive, the P can begin its journey. 3.b3 Kb6 4.b2 Kb5. Now the bK must move on to let the wK proceed. 5.Ke4+ Kc4 6.Kf3 Kd3 7.Kg2 Kd2, making way for the B. The P must wait until the wK can move on. 8.Kh1 Be2 9.b1S+ Ke1 10.Sd2 Kf2. The last clever point is that the B determines the route of the S to h2. 11.Sf3 Bf1 12.Sh2 Bg2. A wonderful problem, though not the direct product of a human mind. The position was found by a computer program written by Mr Zheglov to identify the longest sound helpmate for a specified combination of five pieces by working backwards from all possible mating positions.

R is for Reciprocal Change, by David Shire

Reciprocal change is one of the great, classical #2 themes. In essence the idea is simple yet paradoxical; the mates following two black defences are interchanged between a pair of phases. A is a straightforward example, beautifully set in Meredith. The indirect white battery in the diagrammed position springs into action when the BK takes his orthogonal flights; 1Ke4/Kxf5 2.Rxd5/Rxe3. Please note the wQs guards of d5 and g5 are critical to the functioning of the two mates. The key relinquishes these guards and substitutes control over d4, e3 and e6. 1.Qb6! (>2.Qe6) Ke4/Kxf5 2.Rxe3/Rxd5. Reciprocal exchange following bK flights is commonplace; to set this with such economy of means is definitely rare! Nowotny is another mechanism frequently used and B is a rather unusual example. The set Grimshaw interferences permit the white batteries to fire with shut-off of bRb7; 1...Be4/Re4 2.Sb5/Sb6. The Nowotny key is unsurprising 1.e4! (>2.Sb5/2.Sb6) However, 1Bxe4 opens the line of bQh3 so that the anticipated 2.Sb5? does not mate. 1Rxe4 unblocks f4 thus rendering 2.Sb6? futile. The separation of threats by the Nowotny captures is nonetheless ensured since these defences have now become self-pins; 1Bxe4/Rxe4 2.Sb6!/Sb5!. The excellent by-play also features shuts-off; 1Kd4/Rxb2 2.Sc7/Sb4 (1exd5 2.Qxd5). Note the clever placement of the wK; on a8 his majesty pre-empts potential cooks by wSd5. C combines Nowotny with anti-Nowotny! The bK flight is provided; of rather greater interest is the set play involving interferences of the bPc7 with bRa6 and bBa3 1c6/c5 2.Rf5/Qxb7. The key closes the lines of bRa6 and bBa3 whilst opening the lines of bBg2 and bRa5. 1.d6! (>2.Re7/2.Rxc7) 1c6/c5 2.Qxb7/Rf5. This type of mechanism has been used many times but in 1958 it was indeed unusual to witness a reciprocal change effected by such means. Older members of the BCPS may recall D. Set 1Qxd4 (self-pin) 2.Sef4 and 1Qxd5 (self-block) 2.Sc5. The d3 and f5 flights lack provision so 1.Qc6! (>2.Qc2) Now 1Qxd4 (self-block) 2.Sc5 and 1Qxd5 (self-pin) 2.Sf4 provide a piquant reciprocal change of mates and effects! 1Kd3/Kf5 2.Qc2/Se3. It is possible to compose a poor reciprocal change with no sense of paradox at all. The best productions force us to consider carefully the characteristics of the key, the defences and the mates. Such works make for all that is good in problem chess!
C M.Myllyniemi

A B.P.Barnes

Sunday Times 1964

wdw!wdnd dwdwdwdw pdwdwdwd 4wdpiPdw wdwdwdnd dwdR0wIw wdwdwdwd dBdwdwdw

#2
B Colin Sydenham

1 Pr Due Alfieri 1981

Kgw!wdwd 0rdwdwdw wdwdp0wd $wdNiwdw wdPdw4Pd dwHw)bdq wGwdwdwd dwdw$Bdw

#2
D M.Vukcevich

Tidskrift fr Schack 1958

2 HM The Problemist 1970

wdwdwdwd dq0wdkHB rdwdwdNd 4wdP$w)w wdRdwdwd gQdwdwdw wdwdwdbI Gwdwdwdw

#2

wdBdwdwd dwdw$wdw wGw0Ndbd $wdN1w)w Qdw)kdwd dPdwdw)w wdwdwdPd dKdwdwdw

#2

Solutions to Smedley problems (page 211) E 1.Kf4 Kc5 (Kc4/Ke6?) 2.Re3 (Be3?) Se6; 1.Kd3 Ke6 (Kc5?) 2.Be3 (Re3?) Sc5. Composers note: We were asked to contribute an anonymous problem for a competition to attach composers names to problems hence the title. It was fun to compose; I hope fun to solve. F 1.Kd5+ Rb2 2.e5 Rxg2 3.e4+ Rb2 4.e5 Rxh2 5.Qe6 Rd2. DASs note: A kind of posthumous collaboration; it was left by John Driver among the problems for the column, and I was able to add another oscillation.

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Some More Hints for the Young Composer, by Bernd Grfrath

I enjoyed reading Geoff Fosters paper A Path For The Young Composer in The Problemist Supplement of March 2012 (p.198), and I would like to add some further comments. First of all, I want to stress Geoffs first point: editors should be very kind to newcomers! I still remember that when I started composing, there were large differences in the way I was treated. (But all Brits treated me kindly!) Harsh treatment can be very offputting; and some talents will perhaps stop composing before they have seriously begun. Concerning the field of composition, Geoff recommends to work on traditional themes, but with the use of one or more fairy pieces. It is true that fairy pieces and fairy conditions offer large unexplored areas for composition. But still, their use should be justified by something more than their novelty. For one thing, they should be employed intensely, making maximum use of their specific character. For example, a fairy condition could allow the showing of a traditional theme in a very elegant, very fast, or very paradoxical way. It is even better if a fairy condition enables the further development of older themes. Take, for example, the theme of Schnoebelen Queen in proof games. The Schnoebelen theme is a theme involving promoted pieces: it is a special case of the Ceriani-Frolkin theme, which is the name for the paradoxical effect that occurs when a pawn promotes to a piece which is captured afterwards, leaving no obvious trace in the diagram position. With the Schnoebelen theme, the paradox is increased: the promoted piece does not leave the promotion square, but it is nevertheless possible to deduce its identity. In orthodox proof games, this logical deduction is made possible by leading the king of the opposite side into the possible influence of the promoted piece, and all promotions but one are then excluded. Using this method, however, a promotion to queen cannot be ascertained; and so the Schnoebelen Queen is a genuine theme for fairy chess. Let me illustrate my points with a small example. When I study a new fairy condition, I ask myself which special effects could be made possible with it. Take, for example, the fairy condition of Transmuting Kings. Under this fairy condition, kings in check move only like the piece giving check. When I thought about this, I noticed that this could allow the composition of a proof game with a Schnoebelen Queen: a pawn promotes to queen, gives check, and the king moves in response; the check(s) by the queen or the move(s) by the king must employ both an orthogonal and a diagonal direction. This proves that the promoted piece is a queen, and it can be captured in the end.
A Bernd Grfrath B Dirk Borst

original? (anticipated!)

Nunspeet 2002

rhbdwdqH 0pdpdwdw wgkdwdwd dw0wdr0w wdwdwdwd )wdwdwdw w)P)P)w) $NGQIBdR

PG 10.0 Transmuting Kings
C Kostas Prentos

rhbdwdq4 0p0wdpdp wdk0wdwh dwdw0wdw wgwdPdwd dwdwdwdw P)P)w)Pd $NGQIBHR

PG 6.0 Transmuting Kings

A shows what I came up with. Solution: 1.g4 e5 2.g5 Bc5 3.g6 Bb6 4.gxh7 c5 5.hxg8Q+! Ke6! 6.Sf3 Rh5 7.Sxe5 Rf5 8.Sxf7 g5 9.Sh8+! Kc6! 10.a3 Qxg8. Popeye says that this is C+; but this was not the end of the story: every composer has to check whether a new creation has been anticipated. A good source for proof games is the Problem Database Server on the Internet. I was happy that my search did not result in any cases of a Schnoebelen Queen with Transmuting Kings. But then, by chance, I found an anticipation at the site of FranceEchecs.com: B by Dirk Borst, composed at the meeting of Nunspeet in 2002, shows the theme with impressive economy of time. Dirk needs only one check (orthogonal) and only one king move (diagonal). Solution (C+): 1.h4 e5 2.h5 Bb4 3.h6 d6 4.hxg7 Sh6 5.g8Q+! Kc6! 6.e4 Qxg8.

Orbit 2009

rhndwdq4 0pdwdpdw bdw0pdw0 dwgwdwdw wdwdwdwd dwdwdP)w P)PdPdwd $NGQIBHk

PG 12.0 Transmuting Kings

So A is an Urdruck (German for first printing), but not really an Original. I am using it only for illustrative purposes, and otherwise it would never have been seen by anybody else. This is a situation you have to live with: composing is not a bed of roses! And finally, I would like to give one more piece of advice: it helps to become a good solver! Studying problems in this way lets you learn the intricacies of construction, and it will give you new ideas for your own compositions. Postscript: C has since come to light, showing two Schnoebelen Queens! 1.d4 e6 2.d5 Bc5 3.d6 Se7 4.dxc7 d6 5.h4 Bd7 6.h5 Bb5 7.h6 Ba6 8.hxg7 h6 9.g8Q+ Kc6 10.g3 Qxg8 11.c8Q+ Kxh1 12.f3 Sxc8. Bernd states that this illustrates a further path for the young composer: develop older themes by doubling them!

MAY 2012

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215

Helpstalemate H=n): Black plays first and co-operates with White to enable White to stalemate Black on Whites nth move. Helpselfmate (HS#n): with White starting, Black plays helpful moves until his final (mating) move, which must be forced. Series-selfmate (Ser-S#n): White plays n moves (with Black not moving until the end of the series) to reach a position where Black is forced to mate White immediately. Grasshopper (q): moves and captures on Q-lines by hopping over another unit of either colour (the hurdle) to the square immediately beyond it. A capture may be made on arrival, but the hurdle is not affected. Kobul King: when a piece (not P) of the same colour is captured, this K becomes a royal piece moving like the captured piece. In this royal piece phase it becomes a King again when a pawn of the same colour is captured.

FAIRY SOLUTIONS (November)

PS2531F (aleti) 1Sg1 2.Rh5 h3+ 3.Kh4 g4. 1.Kh5 h3 2.Rg4 Sh2 3.Kh4 hxg4. Set and actual show together bK and bR performing nearly two circuits while wPs exchange functions guarding h5. wK well placed to stop cook 1.Rh3 while suggesting that he comes over to help with stalemate on f5 or f6 (C.C.Lytton). Simple play with tricky coming of different white pawns to g4 (VS). Attractive final stalemating positions (CCF). PS2532F (Rallo) 1.exd4 3.Sxd3 4.Sxe1 6.dxc2 7.c1B 8.Sc2 9.e1B 11.Kd1 Bf3. bPe5 and bS clear for each other before second promotion to B clears finally for bK. Actually, not difficult once graveyard on d1 is seen most difficult bit was trying h3 (for Sf2#) and e2 (for Sc3#) which both take too long (CCL). The sequence of 8 moves involving the S and bPe5 is most attractive (CT). Tricky trip with a lot of follow-my-leader moves (VS). Two promotions to B with interesting play (CCF). PS2533F (Bowden) 1.Se7 3.Bxc2 4.Kxb3 5.Ka4 6.Bb3 7.Rc2 8.Be5 b5. Well-hidden block with neat ratchet mechanism on moves 4-7. First thought wK to a3 for axb4#, but takes too long. I like JBs problems (CCL). Arresting play and captivating finale (VS). Fairly tricky to solve with mate given by a bP (CCF). PS2534F (Foster) 1.Bb7 Bcd5 2.Bc6 Bh1 3.exd5g2 Sxc6-f3. Three short magnetic moves, then three long ones, lead to a thematic mate with 4.Kxh1?? barred by Take&Make. B1 and B2 exquisite tempo moves (CCL). The mate is a striking puzzle (VS). In the final position bK cannot capture the wBh1 as it cannot make a bishop move. Ingenious (CCF). All sorts of false trails, such as 1Sb7 2.Bxb7-d6 and Bh2, or Pe4 Bxe4-e3+ (CT).

PS2531F

PS2532F

wdwdwdwd dwdpdw0w wdwGwdpg dwdwdw0w wdwdwdk4 dKdwdNdw wdwdwdP) dwdwdwdw

H=3 with set play
PS2533F

wdwdwdwd dwdwdndw wdwdwdwd dwdw0wdw wdw)Ndwd dwdPiwdw wdPdpdBd dwdw$wIw

Ser-H#11
PS2534F

wdwdwdwd dBdwdwdw w0wdwdwd 0wiNdwdw wdndwdwd dpIwdwdw w$bdwdwd Gwdwdwdw

Ser-S#8
PS2535F

bdwdwdwd dwdwdwdw wdBdpdwd Hwdwdwdw wdwdwdwd dwdwdBdw wdwdKdwd dwdwdwiw

H#3 Take&Make
PS2536F

wdwdBdwd dwhwdwdw wdwdwdwd dp0wdwdw wdwdwiwd dwGKdwdw wgwdwdwd dwdwdwdw

H#3 2 solutions Einstein chess

wdwdwdwd dwdwdwdw wdwdwdwd dwdpdwdw wdwiBdwd dwdNhwdw wdwdwdwd dwdwIwdw

H#3 2 solutions Circe + Einstein chess

PS2535F (Poissant) 1.Sd5=P Bg7=S 2.Bf6=S Bxb5=R 3.Ke5 Rb8=B; 1.Se6=P Bxb2=R 2.Ke5 Bf7=S+ 3.Kd5 Rg2=B. Dainty echoes (VS). Clever composing to achieve 2 distinct lines with this condition (CCF). PS2536F (Popovski) 1.Sf5=P Bxf5=R[bPf7] 2.Kxd3[wSb1] Kf2 3.Kd4 Rxd5=Q[bPd7]; 1.Sg2=P Bxg2=R[bPg7] 2.g5 Kd2 3.g4 Rxg4=Q[bPg7]. Nice fairy miniature with interesting play (RL). Very admirable is the 3Rxd5=Q[Pd7] mate (VS). Same comment as for the previous problem (CCF).

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FAIRY ORIGINALS PS2585-90F

PS2585F Ron Fenton (USA) PS2586F Julia Vysotska (Latvia) PS2587F John Bowden

rdwdkdw4 dwdw0wdw w0wdPdwd dpdwdw0w wdwdw0Pd )wdw0wdw wdwdPdwd $wdwIwdw

H=6

bdwdwdwG dr!wdwdw w0wdwdwd dw0wdwdw wdkdrdNd dwdwdwdw wdqdw0wd dRdwHwdK

HS#2 2 solutions

wdwdwdw4 dwdwdwdw Bdwdwdwd dwdwdwdw wdPdwiwd dRdwdbdw wdwHwdwd dwdwGwIw

Ser-S#10

PS2588F Linden Lyons (Australia)

PS2589F Alexander Nikolichev (Russia)

PS2590F Ioannis Garoufalidis (Greece)

QdQdwgw1 dwdw0wdw wdw!wdwd dwHw4pdw wdwdwiwI dwdqdpdw w!wdpGwd dwdwdwdw

#2 Grasshoppers

wdwdwdwd dw!w0w0w wdwdwdwd dw)wdPdw w)w0pdwd dkdwdwdw w)wdw0wd dBdwdKdw

H#3 (b) +wPe5 Grasshopper c7

wdwdwdwd dwdwdw)p wdw0w0wd dpdwdPdw w)pIPdwd dw)wdwdw w0Pdwdwd indwdwdw

Ser-S#11 Kobul Ks

Ron Fenton has recently been investigating help-play ideas deriving from the game-array (cf. his Greetings problem on the front page of last Januarys Problemist). Its not hard to see the possibilities inherent in PS2585F! Normally in a helpselfmate its White to play, but Black starts things off in Julias PS2586. As usual you can rely on John Bowden to give you a headache or two before you crack his PS2587F. If you enjoyed Lindens Grasshopper twomovers in the March issue, youll find more of the same kind of thing in PS2588F. Heres a hint for the Kobul Kings item: the fairy element becomes apparent quite late on in the solution. Have fun! JMR

The Problemist Supplement is one of the two magazines produced for its members by the British Chess Problem Society, which exists to promote the knowledge and enjoyment of chess compositions. Membership is by calendar year and is open to chess enthusiasts in all countries. Membership subscriptions (due 1st January) are 32.50 for Fellows and 25 for members (12.50 for under-21s). New members joining during the year pay a proportion of the subscription (exact amount to be negotiated with the Treasurer). Payments, in sterling to BCPS, should be sent to the Treasurer, Paul Valois, 14 Newton Park Drive, Leeds LS7 4HH (paulvalois@yahoo.co.uk).