THE PROBLEfIilIST

SUPPLEfiTENT
ISSUE 8
SEPTEMBER 1993
B D Stephenson,9 Roydfield Drive, Waterthorpe, SHEFFTELD, S19 6ND
SOLUT]ONS EDITOR:
M McDowell, 136 St. Luke's Road, SOUTHEND-ON-SEA,Essex, SS2 4AG
SELECTIONS EDITOR:
J R Coward, 25 Elmwood Avenue, HARROW, Middlesex, HA3 gAJ
All originals printed here take part in the normal
which the set variations are defences) by eliminatingthe
Problemist toumaments, so that publication in this
powerful 1...Bd6!, without which there would be mate in 2
supplement is equivalent to publicalion in the main
by 1.Q95. lt also eliminates lhe defence 2...cxd4 after
magazine.

1...e5/Bc3 2.Rxf3, when there lvould not be mate. but the

For this supplement, I am looking for straightfoMard

originals of all types. ldeally, they should be pointed, well
construcled, and have ente.tainment value. lf you think

that you have anything suitable, please submit it lo me at

the address above. I would appreciate it if composers

would submit problems clearly drawn or stamped on

diagrams, please. I would also be happy if composers
could somehow hide the solution, so that I may have a

key pawn has no olher function, pre-key or post-key.

These might be considered technical blemishes, but in
lhe national solving championships only two of the top

ten solvers found the key against the clock (and neither
of them scored the full marks)! Perhaps (like me) they
were expecting a threal with check, especially with the
Q/S battery all ready to fire; or perhaps they didn't see
the self-blocking effect of 1...B(x)cs.

chance of solving their originals. Many thanks!

JRC

The supplement has its own unified solving ladder

and all are eligible to enter it. Prizes are in line with the

K A K LARSEN

main magazine.

1st Prize, Mannheim CC Ty., 1926

Readers will notice the new diagrams in this issue.

They are produced using the new Chessmen Laser l.s
sofiware written by Timo Kallio. As they make production of the Supplement so much easier for me, I intend to
use them from now on.

John Cowad analyses a difficull 3-mover below, and,

after the originals, lvor Sanders and Mark Ridley present
an excellent introduction to the selfmate. We finish with
some supematural construciion, as described by Michael
McDowell.

BDS
SELECTIONS

#3

1. c5
In a lhreat problem, every defence has by definition a

'plus' (defeat of the threat) and a 'minus' (allowing a

different mating line). ln a $'moverthe minus is harderto

spot when it bec,omes apparent only after black's 2nd
move rather than his firsl. In the following example
Larsen has clevedy used this idea as a theme - | dont
know if it could coneclly be called 'anticipatory selfblock'. lt is only afrer lMs 2nd move has driven the bK to
a flight square that the fatal self-block becomes appar.
ent. The theme may seem simple but the composer
achieves 7 vadations, with no fewer than five thematic
and dual-free self-blocks.

Defences requiring a distind white conlinuation will

not necessarily lead the solver away from the key move,
although he may be penalised in competition for missing
any. In this problem nearly all the variations are in fact
already set; the key merely activates the threat (against

l2.Qg5

1. . . Bxc5 2. Re3+
1. . . Bc4 2, Se6+

1,..Sc2

1. , . Bc3
1. . . e5

2.596+

&

3.Qes #)

Kxd4
Kxd3
Kxd3

3.s92

3. Se5

Kxd4

3. sd3

2. Rxf3
2. Rxf3
Kxd4

(3.s(3.s-

#)
#

#)

f4

3. Se6 #
3. Qxf4 #

Sb5 2.Q(x)e6+ nxr 4

1...h6
2,Q96+
nxrc

J.5e5 *
3. hxg3 #

ex

sa6,

(3.as6 #)

2. hxg3
Rxd3

3.s-

soLUTloNs (MARCH.

'Very attractive.' (R Ravarini)

1993)

PSg{ (Mayhew) 1...c5 2.8d3#; 1.Sds! 01.,-c5/Kb5,cxd5/

Kxds 2.Qd3/Bd3/Bg8 # 'A pleasing miniature with
sacrificial give-and-take key and neal changed and
transferred play.' (MM) 'Splendid key.' (K Dewhurst)
'Nice models (after the ceptures)-' (C Vaughan)

PS92 (Wartemberg) 1.Ra7l (2.Bc5 #) 1...Sd7,Sa6

# 'leasant give-and-take key.' (J Gill) 'Unfortunate that 1...Ka5 is an unprovided flight.' (S Rothwell)

2.R(x)ao

'Nicely keyed near miniature.' (CV) '...which is easily

lransformed into a miniature by removing the superfluous
bPh2!'(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-key
variations illustrate the Schor theme, in wh:ch the key
move unpins a black man and simultaneously self-pins
the key piece; the unpinned black man in tum unpins the
keypiece which is then free to deliver mate.' (MM)
'Clever self-pin of wQ leading to changed mates after
1...8c6/Bxe4.' (SR) 'Looks attractive, but not many
variations.' (ACJM van Oosterhout)

PS94 (Kapustin) (a) 1.Rcd7? (2.Qxd3

#)

1...8a5!;

1.Red7! (2.Qxd3 #) 1...Sxf2,Se3,S4xe5/Sf4,S6xe5/Kf3

2.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.' (BP

Barnes) 'None of these positions could stand alone.

Together they constitute a nice castling problem.' (J
Quah) '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.Qe4
3.RXQ,R
#
#)
a,R& 3.Qf3 #; 1 ...91=Q,R 2.Rd1
'Enjoyable and artful.'(JG) 'A pity that wPc6 is necessary
in 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-/93
3.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 Se3.893 #; 1...Sa7 2.Rxa7 0 93 3.R44 #; 1...Sa5 2.Rxa5 0
93 3.Ra4 # 'A splendid S-wheel - the fitst lwo variations
illustrate the Indian theme, the next four feature 3
ambushes and two grab variations with s,witchback round
off an excellenl problem.' (MM) 'The price paid is the
wood wSeT but it's definitely worth ii. Probably the best
#3 in the Supplement yet-' (lT Zimmerman)'Scores well
for 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...Kgl
2.Ke2 0 Kh2 3.Sf1... 4.Sh3 #; 1...Kh2 2.K94 0 Kg1
3.Sh3+ Kh2 4.Sfl # 'Two nice echo varialions in a
symmetrical miniature.' (SR) 'Perfect symmelry limils
choice of key.' (S Foulkes) 'Symmetrical play uninterest
ing.'(K Frlnk)
PS98 icarai) 1 .Kds Bfl+ 2.Qe6 Rd7 #; 1.Kf5 Rfi+ 2.Qf6
Bd7 #'The White pair exchange destination squares and
functions (pinning or mating) between the solutions. Both
mates are pin-models.' (MM) 'Excellent analogy.' (KF)

PS99 (McDowell) (a) 1.Ke4 c8=Q 2.d5 Qc2 #; (b) 1.KeG

c8=R 2"d5 Rc6 #; (c) 1.Kc4 c8=B 2.d5 BaO #; (d) 1.Kc6
c8=S 2.d5 Sd4 # 'Combination of starflights, AUW and a
selfblock. The solutions have almost perfect harmony,
but the mate in (d) is not delivered by the promoted
piece.' (JQ) 'Charming AUW with fine model mates.' (KF)
'Shown before, eg by V Nestorescu, 1st Prize, Revista
de Sah, 1968 3K3b/1p2P3i3p2P111q1kp3/4S3/4P3/
4PP2l8 H#2 (4 sols), but the model mates were the point
of 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 Sf2
3.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 slender
resources.' (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.Qb6

Sc4 2.Kc6 Rd7 3.8c5 Se5 # 'lmpressive contrast

between the phases. (SF) 'Surprise sacrifice of the
Queen.' (CV) 'This problem has proved surprisingly

difficult, with many solvers finding either the set or actual

play, 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 organized

to neutralise Black interpositions.' (JG)

'Well known battery mechanisms.' (RR) 'Very simple, but
well done.'(CV)
double checks

PSl03 (Libis) 1.Rc3! 0; l...Sb1 2.8c2 Sxc3 #; 1...Sc2

2.Se2 Sxe3 #; 1...Sxc4 2.Se2 Sxe3 #; 1...Sb5 2.8c2
Sxc3 #; 1...dxc3 2.8e2 c2 #; 1...dxe3 2.8e2 Sf2 # 'Key
adds another variation to those set in the diagram.' (cV)
'l like the duaFstopping role of the wQ in the 1...dxe3
line.'(JQ)

Ps't04 (Burbach) 1.Rhs? g4l 2.t6

#;

1.Rh1? Se3!;

1.Rh3? Rxf3+!; 1.Rh2 (2.Bxd4 Qxd4 #); 1...Rxb3+ 2.c3

Rxc3#; 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 very

heavy setting.' (SR, sim. others) 'Excellent problem with
some subtle refutations.' (SF) '3 S promotions and some
rook tries are good to see.' (JQ)

Ps105 (Nebotovxa) 1.Kb2 b8=Q 2.Kal q53 =; (b) 1.Kb2

b8=R 2.Ka1 Rb2 =; (c) 1.Kh2 b8=B 2.Kh1 Bh2= 'You

can't ask for much more from 3 pieces.' (SF) 'Pity

composer couldn't find a fourth fairy condition and bK
transfer to complete the AUW! (A EttingeD

Ps106 (Libis) 1.Kf6 KxbT 2.Ke6 Qd6 #; 1.Kf6 SxgS

2.Ke6 Qd5 #; 1.Kf6 Sg4 2.Ke6 Qd7 #; 1.Kxh6 Qxf3
2.R97 Qhs #; 1.Kf6 KxbT 2.Ke8 QdE # 'ln each solution,
the wQ is immune from caDture because it would be
reborn on d1 giving check.' (MM) 'Rather strained with

too many idle Black pieces, presumably there to stop

checks.' (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=R

8.Re5 White 2.Kdo 3.BeO 5.Kf6 6.8f5 7.K95 8.Qxl/ for

Kxf-/ = but there are numerous short solutions eg Black

1.Rxh2 2.Rh5 3.8f6 4.Rxd5 5.895 6.e6 White 1.Qd4

4.Ke4 5.f3 6.Q97+ for KxgT =

PS1oE CrumbulD 1.Sf3 Sc6 2.Se5 Sd4 3.Sc6 Rb8

4.Sxb8 Sxe2 s.ScO Sd4 6.Se5 Sc6 7.Sf3 Sb6 8.591
'Neat and simple - Black must lose a !empo.' (SD 'Very
nice discovery to add to other similar well-known ones.
(CV) 'Precisely timed joke - just the thing to interest

59

We finish with PS153, a helpmate featuring Leo's

which move on Q lines, but capture by hopping overthe
first piece (of either colour) they encounter to capture an
enemy piece on the next occupied square beyond. In
PS153 neither Leo can capture anything. When there are

chess players! (KD)

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

fairy pieces on the board, the convention is that

promotion to all four normal pieces, and to any fairy

MM

BDS

piece present in the diagram pdsition, is allowed.

Send your solutions and comments

McDowell (address on front page) within

receiving this issue. Happy solving!

ORIGINALS

PS{44 are also directmates, but longer.

2-movers this issue are by established

composers. In PSl36, to appreciate it fully, don't foruet

to look for tries by White that fail to only one black
defence. In PSl38 there is thematic set play, that is,
moves by black in the diagram position that lead to
immediate mate and that are oart of the theme of the
problem.

John Mayhew with PS142 begins are longer problems. lt is a miniature O or fewer pieces) which I hope
is not anticipated. We continue with another good
problem from Brian Edwards and an elegant s'mover
from India.
fne H#2 under PSl45 and PSl46 means helpmate
in 2 moves. In these B plays first and co-operates with W
to enable Wto mate B on his second move. PSt45 is a
duplex, where, besides the normal two solutions with B
helping W to mate, there are also two solutions with W
playing first and helping B to mate. PS147 is a very
welcome contribulion from another top player. lt is a
helpmate in 4 moves where B's first move shouldnt
prove too difficult! Jonathan also offered me another
setting of the same idea - 48/3PPP1Bl4l<2k H#5. Do
solvers agree thal

An unexpected space in the magazine gives me the

opportunity of writing about a book have recenily
acquired for my chess library. The book is Sonafas ,h
Chess edited by D G Mclntyre, and is a collection of 136
three-movers by C A L Bull ('1869-1935).
I have been seeking a copy of this book for a long
time, and when I eventually acquired it earlier this year
was delighted. A study of it during rail journeys in recent

weeks has brought much pleasure.

The book has a forward by Mclntyre, an

introduction by Alain

CALBULL
3rd Prize. Sheffield lnd.. '1888

White, and

Bull's schoolboy days

right up until his death

in 1935, and

first and forces B to mate him. For more explanation see

the article later in this issue. PSl50 is a helpstalemate
in 1.5 moves where W plays first and B helps him to

B on W's second move. There are

progressive twins in this problem where each change is

made from the previous diagram position. (a) is the
diagram position and the others are (b) wPaT - e7 in (a);
(c) wKf/ - fs in (b); (d) bKhT - fi in (c); (e) bKfl - h6 in
(d). (D has the same position as (e) but the s.iipulation is
different - H#2.
PS151 and PS152 feature the Circe condition, which
is defined as follo$rs. When captured, a piece (not a K) is
immediately replaced on its square of origin (game anay
square) if that square is empty; in the case of R, B or S
on the square of the same colour as that on which it was
captured. Thus a wR captured on h8 (a B square) would
be replaced on al, provided that a1 was empty; if al was
occupied the R would be removed from the board as in a
normal capture. Pawns go to the initial square of the file
they are captured on. A replaced R is deemed not to

have moved for castling purposes. PS152 is a serieshelpmate in 22 moves in which B plays 22
consecutive moves (without W playing at all) to reach a
position where W can male in one.

reading

the book allows one to

chart the fascinating ar-

tistic

development of

this famous

composer

throughout his life. Bull

was born in

Twicken-

ham, England, but emigrated to Natal in 1892

have chosen the right one to

The S# under PSI4E and PSl49 means selfmate in

the number of moves specified. In selfmates W plays

contains

compositions from

where from 1693 to

1907 he edited the
chess column ot The

diagram?

stalemate

Michael

months of

ASONATINABYCALBULL

The #2 under PSl36 to PS14l means'Wto play and

mate in two moves against any defence.' PSl42 to

All our

to

Natal Advettiser.

The problem quoted (solution at end of column) is an

early one, composed when Bull was 19 or 20 years old
and although it lacks the depth and profundity of his later
famous works, is given here for three reasons. Firstly it
appealed to me. Secondly, if appealed to Alain White,
who wrote a long paragraph in its praise in the book.
Thirdly, I particularly noticed the source, 7he Sheffield
Independent, just one of many English provincial papers
that had thriving chess columns in those days. Sadly,
most are no longer with us, having fallen victim to the
financialfac{s of life in the twentieth century.

BDS
1.Q96

1...Se?
1...Kf4

o
2.Qd6+
2.5e2+

Kxd6

3.Bh2#

Kf3

1,..c4
1, , . e3

2,B}]2+
2.B.h2+

Ke5
Kxd4
Kxd4

3. Qhs#
3. Bh2#
3. Qb6#

1...h5

2.Q95+

Kd6

.Qs4,

3.8h2#

60

PS136 P STEINER

(usA)

'iffi

PS137 R A LINCOLN

(usA)

(Gernany)

#2 (Set play)

#2 (tries)

PS139 A ALEKSANDROVICH

PS140 W V SOKOLOW

(crs)

(Germany)

PS142 J MAYHEW

PSI43 B EDWARDS

(Plymouth)

#3 (tries)

PS138 R PASLACK

(Paistey)

PS141 A STEPOCHKIN
(Russia)

PS1/t4 N SIKDAR
(lndia)

PS145 A KALOTAY

PS{47 J LEVITT

(usA)

(London)

PS148 A HILDEBRAND

PSl50 G HUSSERL

(Sweden)

(tsrael)

H=1% (see text)

PSI5l J MAYHEW
(Plynouth)

H#2 CTRCE

2 solutions

PSl52 A J SOBEY
(Hindhead)

SH#22 CIRCE

H#2 2 solutions
Leos 91, h7

There is one change of continuation in the actual play

AN INTRODUCTION TO SELFMATES
cy

lvor Sanders & Mark RidleY

While the stipulation 'White to move and mate in n
moves" is well known, that requiring "White to move and
force Black to mate in n moves" may not be so familiar.
This is the s{ipulalion of the Selfmate; White plays to
lose as quickly as he can while Black avoids giving mate
for as long as possible.
It is an old stipulation (dating from the 13th Century

perhaps) and the eattiest problems consisted of long

single lines ol play, but modem examples are shorter

with several thematic lines.

solution @nsists of a key,

which may pose a threat or simply wait for Black to
move, with a number of defences by Black, and White's
conlinuations leading to Black's forced mates (in a
two-moveron Black's second move).
The construction of a Selfmate may require many
men as it must provide a mating net for White's King and
restrict the movement of Blacfs King. Often White will
compel Black to male by attacking his King, to force a
mating reply (typically a defence by a battery), so Black's
White moves first

from the set play, namely after 1-..bxc1=8. A complete

block both before and after the key with at least one
change is a mutate. White has other plausible attempts
at a first move with the Queen, but such tries fail to
single refutations

1.Qd1? O 1.,.bxcl=S

2.

1...bxcl=B!
1.Qe1? O 1...bxc1:B
1...bxc1=S!

Qd3+ Sxd3

2. Qe3+ Bxe3 #

The thematic content of the play is evident - as with

all other types of problem a Selfmate is nol simply a
(2) Y AFEK

puzzle (though some of

the longer ones are difficult to solve) but also

1st Prize, Solidarity, 1985

shows an idea.

- the

opportunities for flight must b limited.

Time is important to White, as Black cannot be given
the chance to scatter his men abroad. While the key
should be subtle, the threat and continuations are often
forceful as Black is frequently bludgeoned into giving
male. lvor Sanders Drefers the subtleties of
(1) A WERLE
Reflexmales.
3rd Comm.. Ihe Problemist. 1982
Perhaps the besl is
to approach the solving
of a Selfmate by first
deciding on a threat for

Whiie, or at least on
how a forced mate is
likelyto be delivered.
In (1) the mate will
clearly by along White's
first rank- While Whit
has no obvious threat,

Black has so

few

moves lhat every available one can be considercd.

1...bxcl=Q,R+ 2.QfL+ Q,Rxfl #

2.Qe3+ Bxe3 #
1...bxc1=B
2.Qd3+ sxd3 #
1...bxcl:s
2.Qf1+ Rxfl #
1. . . Rxcl+

In (2) White will

threaten to force mate
along his first

rank
again, from the firing of

the Rook and Bishop

battery, so White uses

the key and threat to

dismantle his defences

tr7,&w'/ffi,

1...c5
1...d4

Black,

the position is

against this

battery.
Less obvious perhaps is
Black's half-battery of
Queen and Pawns,
though White has set
replies lo moves of
these pawns

"%zL

2.Qc4+
2. Qb51

dxc4 #
cxb5 i

In the nature of problems it is likely these Pawnmoves will recur as defences.

1.Sf4!

(2.Qd4+ Bc4

#)

2.Qbs+
Bxb5
1..,c5
7...d4
2.Qc4+
Bxc4
1...Qxa6 2.Qxa6+ Bxa6

#
#
#

(3) W TURA

The same defences and continua-

3rd Prize, OlympicTy., 1984

tions occur in both the

set and aclual play but

there is a reciprocal
change in their rela-

tionship. You may not

claim "No Solution" by
1.Sf4l B- # for Black

In this example there is set play, that is, White has a

continuation already pteFrcd in the diagram for at least
some of Black's moves. Here, as White has a set reply

to every move availaue lo

avoids mate for

as

long as possible.

In (3) there is

re-

complete block all that White requires is a suitable

ciprocal change again,

waiting move.

but this time between

the virtual play following a try and the ac-

1.Qa6

()

1...bxc1:Q,R+ 2.QfL+ Q,Rxf1

2.Qh6+! Bxh6 #
1. ..bxcl=B

1...bxcl:S
1. . , Rxcl+

2.Qd3+

Sxd3 #

2.9f1-+ Rxfl

his Knight to defend his

tual play after the key.

White will threaten to
force Black to move
King, thus 2.Qc5+ Sd5 #

(Black's d-pawn is pinned) - but how does White's Queen

arrive at c5?

L,Qa1? (2.Qc5+

sd5 #)

1.,.Qxa?
1...Q91
1...Qh1!

2.d4+
2.Qd4+

Qxd4 #
Qxd4 #

1.Qq1!

(2.Qc5+

sd5 #)

1. ..Qa?

2.Qd4+
2.d4+
2,Qxe3*

Oxd4
Qxd4

1...Qxql1,,,Be3

As White has no set reply to 1...e4, the key

obvious.

1.e4

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

1...Kq5(a)
1. . .I(xh7 (b)

1-...Kf7 (c)
#
#

The same three defences and continuations occur

Se4#

h (4) Vwite will

threaten to force Black
to move his Knight on
94 - but will the threat

(4) M LIMBACH
2nd Ptize, The Pioblemist. 1988

be 2.Rfl+ SfO # (having

guarded e4 and e6) or

2.Se3+ Sxe3 # (having
moved his Bishop on

bl

to avoid mating Black)?

is

in

the set and actual play, but their relationship shows a

cyclic shift. This is the Lacny theme and may be
expressed symbolically as 1...abc 2.ABC/BCA.

It is not unusual in direct-mates to find Black with

half-pinned pieces in the diagram (two pieces on the

same pin-line so the movement of one from the line pins

its colleague) leading to pin-mates for White (the mate
succeeds only because an opposing piece is pinned).
Where mate is by Black in a Selfmate, it is White who
may have the half-pinned men and Black the pin-mates.
This idea was the theme for entries to GrouD Fl of the
1st World Chess Compositions Toumament WCCT) of

the FfDE in 19725

composers had

to

construct

in which White had half-pinned

pieces in the diagram with each being pinned in at least
one variation.
two-move Selfmate

(6) is a later example of this idea - White

(6) V ALATKOV
3rd Prize, ShakhmatnaMysl, 1978

1.

Re1?

(B) sxe3

probably lhreaten
# so long

2.Qd4+ cxd4

as he can Drevent the

(2. Rf?+ (A) Sf6 #)

1. . . Qe4 (a) 2. Se3+

will

defence by his Rook on

d3. Black's Royal Bat-

tery (the King as

the

front piece) should not

1. Ba2

be overlooked, though
mate by it seems un-

(2. se3+ (B) sxe3 #)

1...Qe4 (a) 2.Rf7+(A) sf6

1...Qa?,
Qb6 2.Rd5+
1,..S92
2.hxg4+

likely given White's defences. Here White has

third-pinned pieces, and

the surprising

Se5 #

Rxg4

pinned. The key is un-

Reciprocal change again, but this time one of White's

moves is a threat - here the threat and the continuations
following the same prominent defence are interchanged.

This is the le crand

(5) M CATLLAUD
1st HM., Rex Multiplex, 19823

theme (7he Problemist,

May 1990) and may be
expressed symbolically
as Try? (2.A) 1...a2.8:
Key! (2.8) 't...a2.4.

In (5)

Vvhite will

clearly threaten lo leave

Black with only his
Bishop able to move.
There is again set play White has replies al-

feady prepared for

moves of Black's King.

expected as it masks
Black's Royal battery,
reducing the likelihood of it delivering mate even further.

1.Rf6!

12.QdA+ cxd4 #)

1...Kxf6
1...Bxf6
1. . , Rxe3
1...Qxf6

2.Q95+

Kxg5

2.QfA+

Kxf4
Kxf5

2. Rf5+
2.Rd5+

Kxd5

All four mates are pin-mates, delivered by a Royal

battery, with White's Rook on d3 necessarily pinned in
the first three variations. and his Queen in the fourth.
Those seeking longer Selfmates will find numerous
examples in the articles "Anticipatory self-pin in the
Seffmaie" (The Problemist, January, 1991) and "Battery
crealion by interference in the Selfmate" (The Problemist
January/March, 1 992) both by Zivko Janevski (photocotr
ies from lvor Sanders) but here are a couple of
examples. Though neither is typical, as White has quiet
moves in both, they may convince you that not all longer
Selfmates are that difficultto solve.

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

key

leaves two of them half-

2. R98+ (A) 896 #

2.Bf5+(B) Bxf5 #

2.Qhs+(c)

Bq6 #

(7) is by an acknowl-

(7) P PETKOV

MEDIUM RARE
by
Michael McDowell

edged expert in Selfmate composition. lf

1st Prize. Schach. 1981

White threatens immediately 1.Rfl+, Black responds not with 1...Sxfi

#? but rather 1...Kxes!

So White tries

first

threatening 2.Rfl+

Sxfl

guarding

e5 and then

(A) is one of the

most famous 2-movers
Good Companions,1920 ever comDosed. lt was
the first problem to

(A)AJFINK&UATANE
1st Prize,

show

a.

1.d4?
1.Sc4?

1...Qxf3+!
1..,bxc4l

.KXq/:

lf White can prevenl these defences, then the tries

will succeed as continuations.

Rf?+ SxfT
3.Rf7+ SxfT
3. Rf7+ SxfT

1. . . Rxa4 2. SxdT &

3.

&
l...Qxa4 2,d4
1. . . bxa4 2 . Sc4 &

#
#
#

White succeeds by a surprising Queen sacrifice.

Finally (8) is a light-

weight four-mover

(8) E TWANOW
1

988

in

which Black is quietly

reduced to a single possible fourth move. lf this

approach is to succeed,
White must self-block
b4 and then play 4.Bbo

axb6

#,

having pinned

Black's Bishoo on e3
and stopped the possi-

ble advance of his

part of the story is that

Ua Tane believes the
problem to be of supernatural origin. He had
made several seven self-blockers, and thought eight
might be possible. So he wrote Fink, suggesting the idea,

1.Qa4l (2.Sxd6+ Bxd6 3,Q94+ Sxg4#)

Comm.. The Problemist.

selfblocks (a

lously achieved the feat

in mutate form. Even
more remarkable was
the story behind its
composition. Quoting
AC White from The
Good Companion TwoMover- "The amazing

s#3
1.SXO/i

record which still

stands) and miracu-

#.

e-

pawn.

and later gave the idea to another friend, who was an

amateur medium. On the night he gave the idea to this
friend, Fink dreamt the position of (A), but without an
orthodox key. When this imperfect version reached Ua
Tane, he studied it carefully and the next night the key
came to him, also in a dream. Neither composer had
ever had the experience of composing in sleep before,
and at least Ua Tane is convinced that the insDiration
was received by both composers through the agency of
the medium."
A romantic and intriguing tale, but authentic? Experienced 2-move compos-

(B) F JANET
Chess Amateur. 1918

ers would surely have

been familiar with
achievements in the
field of changed play,
including the devices
used

to produce

keys,

and the key to (A) was

certainly not new. Two
years earlier another famous Good Compan-

ion, Frank Janet,

had

published (B), which illustrates another lask of

1.8c5! [2.Rb4

o
AA

e5 3.Q{x)e5+ Be34.Bb6 axb6 #l

1...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 earned
its composer a commend from Intemational Judge Zivko
Janevski.
Besides the occasional Selfmates here in the Supp/ement, Paul Valois has Selfmates (and Reflexmates) in
each issue of The Problemist itself - perhaps you could

start by tackling just the two-movers, for Paul will be

delighted to welcome and encourage new solvers.

sorts, the horseblock

theme (4 knight selfblocks in a 2-mover).

19'19 had seen the publication of the Williams

Gevers coflection of mutates Ail Change Herel, which
in cluded 3 S2sS/3 RpR 1 b I 2p4p | 4k2pI 4P p'l lA 3P 4 I 4p3I
3sB3 #2 1.Rf8 published by Otto Wuzburg in 1895 (no
source 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 does
not ring true. However, perhaps the best word should go
to Alain White: "Whatever the reader may think in the
matter, the problem itself is proof lhat someone was
'inspired'."