Chess Problem Gems by Eight Eminent American Composers

CHESS PROBLEM GEMS BY EIGHT EMINENT AMERICAN COMPOSERS Kenneth S. Howard DOVER PUBLICATIONS, INC. NEW YORK Copyrigh...

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CHESS PROBLEM GEMS BY EIGHT EMINENT AMERICAN COMPOSERS

Kenneth S. Howard

DOVER PUBLICATIONS, INC. NEW YORK

Copyright © 1972 by Dover Publications, Inc. A l l rights reserved under P a n A m e r i c a n and International C o p y r i g h t Conventions.

Published in C a n a d a by G e n e r a l Publishing C o m p a n y , L t d . , 30 Lesmill R o a d , Don Mills, Toronto, Ontario. Published in the United K i n g d o m by Constable and C o m p a n y , L t d . , 1 0 O r a n g e Street, L o n d o n W C 2 .

Chess Problem Gems by Eight Eminent American Composers is a new work, first published by D o v e r Publications, Inc., in 1 9 7 2 .

International Standard Book Number: 0-486-22166-0 Library of Congress Catalog Card Number: Jg-i8g348 M a n u f a c t u r e d in the United States of A m e r i c a D o v e r Publications, Inc. 180 V a r i c k Street New York, N . Y . 10014

Contents

page Eight Eminent Composers

i

T h e Problemist's Vocabulary

4

Notation

9

E u g e n e B. C o o k

11

Samuel Loyd

16

William Meredith

32

George E. Carpenter

41

William A. Shinkman

48

D. J. Densmore

64

Henry Wald Bettman

72

Otto Wurzburg

85

V

Eight Eminent Composers

FEW chess e n t h u s i a s t s t o d a y m a y b e f a m i l i a r w i t h m u c h o f t h e outstanding work of the early A m e r i c a n p r o b l e m composers. T h i s p r i m a r i l y is because no collections of their p r o b l e m s a r e currently in print a n d they are only to be found in books t h a t occasionally m a y be secured in the secondhand market. A single e x c e p t i o n i s t h a t o f s o m e o f S a m L o y d ' s c o m p o s i t ions. So the present volume reproduces typical examples of the work of eight of the most e m i n e n t of these problemists whose c o m p o s i n g c a r e e r s d a t e d f r o m t h e last c e n t u r y . W h i l e E u g e n e B. Cook a n d S a m u e l L o y d were the earliest of t h e m o r e p r o m i n e n t p i o n e e r s , t h e y w e r e f o l l o w e d closely b y George E. Carpenter and William A. Shinkman. Although W i l l i a m M e r e d i t h w a s b o r n b e f o r e L o y d , his p r o b l e m s o n l y b e g a n t o b e p u b l i s h e d i n t h e e i g h t e e n - s e v e n t i e s a n d his w o r k did not attract a n y widespread attention until years afterward. D a r s o J . D e n s m o r e b e c a m e n o t e d f o r his s t r a t e g i c p r o b l e m s , especially for those f e a t u r i n g black interferences. T h e c o m p o s i n g activities o f H e n r y W a l d B e t t m a n a n d o f O t t o W u r z b u r g c o n tinued far into the present century. While other early composers published m a n y fine problems, they did not become as prominent. P r i o r t o t h e m i d d l e o f t h e last c e n t u r y t h e r e w a s o n l y a m i n i m u m o f chess a c t i v i t y i n this c o u n t r y a n d a s t h e r e w e r e n o chess m a g a z i n e s , n o r chess c o l u m n s i n n e w s p a p e r s , t h e r e w a s l i t t l e incentive for p r o b l e m composition, since it was only in foreign periodicals that problems might be published. T h e e a r l i e s t A m e r i c a n chess c o l u m n w a s o n e e d i t e d b y C h a r l e s H e n r y S t a n l e y in The Spirit of the Times, in N e w Y o r k , the first problem published being one of Stanley's own that was p r i n t e d i n n o t a t i o n i n t h e M a r c h 1 , 1845 issue. T h e f i r s t m a g a z i n e , The Chess Palladium, w a s issued by N a p o l e o n M a r a c h e in

14°

Chess Problem. Gems

1846, a n d a s e c o n d , t h e American Chess Magazine, a p p e a r e d in 1847. B o t h , h o w e v e r , h a d s h o r t lives. A g r e a t chess a w a k e n i n g i n this c o u n t r y c a m e w i t h t h e a d v e n t o f P a u l M o r p h y ' s exploits, w h i c h b e g a n i n t h e l a t e r e i g h t e e n fifties and aroused so m u c h national enthusiasm that m a n y n e w s p a p e r s b e g a n t o c a r r y chess c o l u m n s . T h i s n a t u r a l l y led t o a s t e a d i l y i n c r e a s i n g i n t e r e s t in p r o b l e m s . T h e birth of American problem-book literature dates f r o m t h e f o l l o w i n g d e c a d e . I n 1859 C o o k a n d L o y d p l a n n e d t o issue a collection of a t h o u s a n d p r o b l e m s by A m e r i c a n composers. It w a s n o t u n t i l 1868, h o w e v e r , t h a t w i t h t h e c o o p e r a t i o n o f William R. H e n r y a n d Charles A. Gilberg, the book was p u b l i s h e d u n d e r t h e title of American Chess Nuts, c o n t a i n i n g 2 4 0 6 problems, of w h i c h 353 were by Loyd, 326 by Cook a n d 64 by Carpenter. I n 1881 L o y d p u b l i s h e d his Chess Strategy, " a t r e a t i s e o n chess p r o b l e m s , " i l l u s t r a t e d w i t h m a n y o f h i s c o m p o s i t i o n s . T h e second section of the sixteenth v o l u m e of Alain W h i t e ' s Christmas Series, e n t i t l e d Sam Loyd and his Chess Problems, issued in 1913, is a r e v i s i o n of t h e Strategy, b a s e d on m a t e r i a l left by L o y d a t his d e a t h , a n d h a s o v e r 5 0 0 o f h i s p r o b l e m s . T h i s v o l u m e fortunately is n o w available in a p a p e r b a c k reprint. In 1916 100 Chess Problems by William Meredith w a s p u b l i s h e d as t h e t w e n t y - s e c o n d v o l u m e of t h e Christmas Series, a n d in 1920 A Memorial to D, J. Densmore, c o n t a i n i n g a c o l l e c t i o n of D e n s m o r e ' s p r o b l e m s , a s t h e t w e n t y - s i x t h v o l u m e . T h e n The Golden Argosy, a c o l l e c t i o n of 6 0 0 of S h i n k m a n ' s p r o b l e m s , t h e t h i r t y s e v e n t h v o l u m e of t h e Christmas Series, a p p e a r e d in 1929. Orestes A. Brownson, J r . , w h o founded a n d edited the Dubuque Chess Journal, p u b l i s h e d a c o l l e c t i o n of 2 0 0 of C a r p e n t e r ' s p r o b l e m s i n 1875, w i t h t h r e e l a t e r e d i t i o n s . N u m a P r e t i o f P a r i s also b r o u g h t o u t a c o l l e c t i o n o f 2 0 0 o f C a r p e n t e r ' s p r o b l e m s i n 1901. I n 1926 D r . H . K e i d a n z p u b l i s h e d a c o l l e c t i o n o f all o f Cook's k n o w n compositions, some 650 positions. All o f t h e s e b o o k s w e r e issued i n c o m p a r a t i v e l y l i m i t e d editions a n d , as previously m e n t i o n e d , only a selection of L o y d ' s p r o b l e m s is readily o b t a i n a b l e at present. No collections of the problems of Dr. Henry Wald Bettman nor of Otto W u r z b u r g have as yet been published.

Eight Eminent Composers

3

S o t h e a u t h o r believes t h a t t h e selections i n this v o l u m e w i l l b e w e l c o m e d b y all w h o m a y b e i n t e r e s t e d i n e a r l y o u t s t a n d i n g c o m p o s i t i o n s i n t h e A m e r i c a n chess p r o b l e m field. Since some readers m a y not be familiar with various terms u s e d b y p r o b l e m i s t s , m a n y o f t h e m o r e c o m m o n o n e s a r e exp l a i n e d in t h e next section.

The Problemist's Vocabulary

T H E BASIC d i s t i n c t i o n b e t w e e n a c o m p o s e d endgame a n d a problem i s t h a t i n t h e f o r m e r W h i t e h a s a n i n d e f i n i t e n u m b e r o f moves in which to w i n — o r d r a w — a g a i n s t a superior or equal black force, w h e r e a s in a p r o b l e m W h i t e m u s t m a t e Black in a definite n u m b e r of moves. I n a c o n v e n t i o n a l chess p r o b l e m W h i t e m o v e s f i r s t a n d m a t e s Black in a stipulated n u m b e r of moves, the correct first m o v e f o r W h i t e b e i n g t e r m e d t h e keymove o r key. T h e r e a r e o n l y t w o conventions that must be observed in composing a problem. T h e first is t h a t the position must be one w h i c h could be r e a c h e d in actual play however u n n a t u r a l it m a y a p p e a r . In fact, the positions in p r o b l e m s never w o u l d be likely to o c c u r in a g a m e . T h e second convention is that there must be only one first move t h a t w i l l solve t h e p r o b l e m . S h o u l d i t b e d i s c o v e r e d t h a t a p r o b l e m m a y be solved by m o r e t h a n o n e first m o v e it is said to be unsound a n d i s v a l u e l e s s . T h e u n i n t e n d e d f i r s t m o v e i s c a l l e d a cook. W h i l e a n y m o v e m a y be employed as a key, in m o d e r n problems a check, c a p t u r e of a black m a n , m o v e of a w h i t e piece f r o m an out-of-play to a m o r e active position, a m o v e t h a t restricts B l a c k ' s p l a y , o r a n y o t h e r a g g r e s s i v e m o v e , i s c o n s i d e r e d o b j e c t i o n a b l e as a k e y m o v e . A p l a u s i b l e - a p p e a r i n g first m o v e against w h i c h Black m a y d e f e n d by p e r h a p s only a single d e f e n sive m o v e is c a l l e d a try. W h e n the keymove directly threatens m a t e in the stipulated n u m b e r of m o v e s t h e p r o b l e m is a threat problem. L i n e s of p l a y w h e r e defensive moves by Black defeat the threat b u t allow W h i t e t o m a t e i n o t h e r w a y s a r e t e r m e d variations. In a waiting-move problem m a t e is n o t t h r e a t e n e d by t h e k e y m o v e w h i c h , h o w e v e r , sets u p a p o s i t i o n w h e r e a n y b l a c k m o v e will w e a k e n t h e d e f e n s e a n d a l l o w W h i t e t o m a t e — B l a c k i s i n zugzwang. W a i t i n g - m o v e p r o b l e m s a r e s u b d i v i d e d i n t o complete 4


5

block a n d incomplete block p o s i t i o n s . In t h e i n i t i a l p o s i t i o n of a c o m p l e t e block a m a t i n g c o n t i n u a t i o n is provided—set being the technical t e r m — f o r a n y m o v e t h a t Black c a n m a k e a n d W h i t e h a s o n l y t o m a k e a m o v e w h i c h will n o t a l t e r s u c h a n a r r a n g e m e n t . In an incomplete block there m a y be one or s e v e r a l p o s s i b l e m o v e s b y B l a c k f o r w h i c h m a t e s a r e n o t set a n d the key must provide mates for such moves. W h e r e the keymove in a complete block problem changes s o m e o f t h e set m a t e s t o o t h e r m a t e s t h e p r o b l e m i s t e r m e d a mutate. W h e r e t h e k e y m o v e p e r m i t s B l a c k t o m a k e d e f e n s i v e moves t h a t lead to m o r e m a t i n g positions t h a n those in the i n i t i a l s e t t i n g it is an added mate p r o b l e m . T h e n t h e r e are complete block positions w h i c h c a n n o t b e solved b y a w a i t i n g - m o v e key, b u t i n w h i c h W h i t e m u s t m a k e a k e y m o v e t h a t t h r e a t e n s m a t e d i r e c t l y . S u c h a p r o b l e m is a block-threat. T h e s q u a r e u p o n which a king stands a n d those i m m e d i a t e l y a d j a c e n t t o i t c o n s t i t u t e t h e king's f i e l d ; n i n e s q u a r e s i f t h e k i n g is not at an edge of the b o a r d . If w h e n the black king is m a t e d each of the squares in the king's field are g u a r d e d by only o n e w h i t e m a n or blocked by a b l a c k m a n it is a pure mate. T h e o n l y e x c e p t i o n to this is w h e r e a black m a n t h a t occupies an a d j a c e n t square is pinned a n d could p r e v e n t t h e m a t e i f i t w e r e n o t p i n n e d . S u c h a m a t e m i g h t also b e c o n s i d e r e d p u r e . I n s u c h a s i t u a t i o n t h e m a t e i s also t e r m e d a pin-mate. A model mate is a p u r e m a t e w h e r e all t h e w h i t e m e n on t h e board, with the optional exception of the king and pawns, take part. S o m e purists, however, hold t h a t a n y white p a w n e m ployed must g u a r d one of the squares in the black king's field for the m a t e to be a model. W h e r e the black king when m a t e d is not at an edge of the b o a r d a n d there are no other m e n on the eight adjacent squares in t h e k i n g ' s field it is a mirror mate. T h e t e r m is c o m m o n l y a p p l i e d o n l y w h e n t h e m a t e i s also a p u r e o n e . A l t h o u g h a f e w problemists h a v e composed positions primarily to feature mirror mates, they are of infrequent occurrence. T h e i d e a o r m a n e u v e r w h i c h a p r o b l e m i s expressly c o m p o s e d to i l l u s t r a t e is t e r m e d t h e mainplay or thematic play. All o t h e r c o n tinuations, b r o u g h t a b o u t by various black defensive moves, arc

14°

Chess Problem. Gems

t e r m e d byplay o r v a r i a t i o n s . W h e r e b e c a u s e o f s o m e b l a c k m o v e W h i t e h a s a c h o i c e of m a t i n g m o v e s it is a dual a n d in t h e case of three-move or four-move problems a choice of m a t i n g cont i n u a t i o n s is t e r m e d a dual continuation. A major dual is o n e w h e r e W h i t e h a s a c h o i c e of lines of p l a y or m a t i n g moves none of which he is forced to adopt by any of Black's defensive moves. Such duals are particularly objectionable if they occur in the thematic or m a i n p l a y of the problem. In a minor dual W h i t e h a s a c h o i c e of c o n t i n u a t i o n s f o l l o w i n g indifferent black moves while Black m a y m a k e certain moves w h i c h c o m p e l W h i t e t o m a k e a single d e f i n i t e c o n t i n u a t i o n . D u a l s o c c u r r i n g i n u n t h e m a t i c o r s e c o n d a r y lines o f p l a y a r e also s o m e t i m e s c a l l e d m i n o r d u a l s . I n s o m e cases s u c h a d u a l might be avoided merely by the addition of a black p a w n , which m a n y composers, however, would prefer not to a d d to eliminate an insignificant dual. T h e repetition of a similar type of position in two or m o r e m a t e s i s k n o w n a s a n echo. W h e r e t h e b l a c k k i n g s t a n d s o n s q u a r e s of t h e s a m e c o l o r w h e n m a t e d it is a monochrome echo. If he stands on a white square in one m a t e a n d on a black square in a n o t h e r it is a chameleon echo. L i k e w i s e w h e r e t h e c o n t i n u a t i o n s i n t w o o r m o r e lines o f p l a y in three-move, four-move or longer problems are similar they a r e said to echo each other. W h e r e t h e r e i s a s q u a r e i n t h e b l a c k k i n g ' s field o n t o w h i c h he can move, because it is not g u a r d e d by a white m a n nor o c c u p i e d by a b l a c k o n e , it is c a l l e d a flight square. W h e r e t h e r e is an u n g u a r d e d white m a n on such a square the black king's m o v e o n t o it is t e r m e d a flight capture. W h i l e i n a g a m e a m a n i s said t o b e p i n n e d n o t o n l y i f its r e m o v a l w o u l d l e a v e its k i n g i n c h e c k , b u t i f i t w o u l d l e a v e a m o r e i m p o r t a n t p i e c e u n d e r a t t a c k , i n a p r o b l e m t h e w o r d pin is used only w h e r e the opposing king is on the line of pin. If t h e p i n n e d m a n c a n move a l o n g the line of p i n n i n g it is said t o b e line-pinned. T h u s a q u e e n c a n o n l y b e l i n e - p i n n e d while a knight is always absolutely pinned. Both p i n n i n g a n d u n p i n n i n g p l a y p r o m i n e n t roles i n m o d e r n p r o b l e m s . W h e n t w o b l a c k m e n a r e o n a line b e t w e e n t h e b l a c k k i n g a n d a l o n g - r a n g e w h i t e piece, w i t h n o o t h e r i n t e r v e n i n g m e n ,


7

it is t e r m e d a half-pin, since if e i t h e r b l a c k m a n m o v e s off t h e l i n e its f e l l o w b e c o m e s p i n n e d . A battery is an a r r a n g e m e n t of t w o m e n of t h e s a m e c o l o r a l o n g a file, r a n k o r d i a g o n a l , w h e r e t h e r a n g e o f a r e a r p i e c e — q u e e n , r o o k or b i s h o p — i s o b s t r u c t e d by a f r o n t or firing piece, a m o v e o f w h i c h off t h e line m a k e s t h e p o w e r o f t h e r e a r p i e c e e f f e c t i v e . A b i s h o p , as a f r o n t p i e c e , m a y o b s t r u c t a r o o k ' s a c t i o n a l o n g a file or r a n k , w h i l e a r o o k m a y o b s t r u c t t h a t of a b i s h o p o n a d i a g o n a l . A k n i g h t o r k i n g m a y serve a s t h e f i r i n g p i e c e , a s also m a y a p a w n i n c e r t a i n p o s i t i o n s . T h e q u e e n , h o w ever, m a y only be employed as the rear piece of a battery. W h e r e the r e a r piece is on a line with the black king it is c a l l e d a direct battery; w h e r e it is on a l i n e w i t h a s q u a r e t h a t is a d j a c e n t t o t h e o n e o n w h i c h t h e b l a c k k i n g s t a n d s i t i s a n indirect battery. W h e n a n i n d i r e c t b a t t e r y f i r e s , t h e f i r i n g p i e c e m a y check the black king, while the r e a r piece g u a r d s o n e or m o r e squares in the king's field. W h e r e the firing piece is the w h i t e k i n g it is t e r m e d a royal battery. W h e n a l o n g - r a n g e p i e c e i s m o v e d o n t o a line b e h i n d a n o t h e r man—especially w h e r e the f o r m e r is a white piece a n d the latter a b l a c k m a n — s o t h a t i t m a y m o v e a l o n g , o r h a v e its g u a r d i n g p o w e r b e c o m e effective, on t h a t line if the m a n in f r o n t moves off t h e line, t h e m a n e u v e r i s t e r m e d a n ambush. In a p r o b l e m in which Black is allowed to check the white king by a long-range piece—queen, rook or bishop—and W h i t e counters by m o v i n g a m a n o n t o t h e line of check a n d simultaneously checks the black king either directly or by discovery, it is a cross-check. W h e r e t h e w h i t e k i n g m o v e s o u t of t h e l i n e of check a n d at the same time discovers check on the black king f r o m a w h i t e p i e c e b e h i n d h i m it is a royal battery counter-check. W h e r e the p o t e n t i a l moves of t w o l o n g - r a n g e pieces intersect t h e s q u a r e on w h i c h t h e i n t e r s e c t i o n o c c u r s is c a l l e d a critical square a n d w h e n e i t h e r p i e c e m o v e s o n t o t h a t s q u a r e i t c r e a t e s a n interference w i t h t h e o t h e r p i e c e . W h e n a w h i t e p i e c e , s u c h a s a b i s h o p , r e t r e a t s a l o n g a l i n e a c r o s s a c r i t i c a l s q u a r e to p e r m i t a n o t h e r p i e c e , s u c h a s a q u e e n , t o m o v e o n t o t h e line a h e a d o f it, it is an anticritical move. W h e r e a p i e c e m o v e s a r o u n d a n o t h e r l o n g - r a n g e p i e c e to s u p p o r t it f r o m b e h i n d it is a pericritical maneuver. W h e r e a p r o b l e m i s c o m p o s e d t o s h o w t h e m a x i m u m possi-

IO

IO Chess Problem Gems

bilities o f s o m e m a n e u v e r , s u c h a s a w h i t e k n i g h t p l a y i n g t o eight different squares, a c c o r d i n g to Black's defensive moves, to d i s c o v e r m a t e , it is c a l l e d a task problem. A p r o b l e m w i t h a t o t a l of s e v e n or f e w e r m e n is a miniature, w h i l e o n e of t w e l v e or less is c a l l e d a Meredith, a l t h o u g h this term ordinarily is only applied to two-move problems. In a self-mate problem, or a suimate as it is also t e r m e d , i n s t e a d of W h i t e m a t i n g Black the p r o c e d u r e is reversed a n d W h i t e forces Black to m a t e t h e w h i t e king.

Notation

T H E chess n o t a t i o n i n t h e f o l l o w i n g t e x t a n d s o l u t i o n p a g e s i s t e r m e d t h e algebraic, s o m e t i m e s also c a l l e d t h e Continental b e c a u s e o f its use i n c o n t i n e n t a l E u r o p e a n c o u n t r i e s . S i n c e i t i s m o r e p r e c i s e t h a n t h e English n o t a t i o n i t i s m o r e g e n e r a l l y u s e d in books on problems, such as the m a n y volumes in Alain White's Christmas Series a n d also in t h e series of p r o b l e m b o o k s t h a t F r a n k A l t s c h u l p r i n t e d a t his p r i v a t e O v e r b r o o k Press.

a b c d e

f g h

In the algebraic notation the location a n d moves of the m e n a r e a l w a y s r e a d f r o m t h e w h i t e side o f t h e b o a r d , o r t h e l o w e r side o f t h e d i a g r a m . T h e files a r e d e s i g n a t e d " a " t o " h " f r o m left t o r i g h t a n d t h e r a n k s a r e n u m b e r e d " 1 " t o " 8 " r e a d i n g upward. In the ensuing sections the s a m e letters are e m p l o y e d to denote the m e n as in the English notation, w i t h the exception of S ( G e r m a n Springer) f o r k n i g h t . T h e s y m b o l x is u s e d f o r a c a p t u r e a n d t h e s y m b o l ( ) for t h e p r o m o t i o n of a p a w n to a piece, with a letter w i t h i n the parenthesis d e n o t i n g the piece 9

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t h a t is chosen. T h e symbol V (version), before the n a m e of a p u b l i c a t i o n a b o v e a d i a g r a m , i n d i c a t e s t h a t t h e p o s i t i o n is a revision of a p r o b l e m as originally p u b l i s h e d ; the s y m b o l (quoted) indicates t h a t the p r o b l e m initially a p p e a r e d in some other publication.

Eugene B. Cook

EUGENE BEAUHARNAIS COOK ( 1 8 3 0 - 1 9 1 5 ) , b o r n a d e c a d e b e f o r e L o y d , s u b m i t t e d a p r o b l e m f o r p u b l i c a t i o n i n 1850 a n d c o m p o s e d his last p r o b l e m i n M a r c h , 1915, t h e y e a r o f his d e a t h . I n 1851 he h a d t h r e e p r o b l e m s p u b l i s h e d in t h e New York Albion, a n t e d a t i n g L o y d ' s d e b u t b y f o u r y e a r s . O f his t o t a l o f six h u n d r e d fifty compositions m a n y r e m a i n e d u n p u b l i s h e d a t t h e t i m e o f his d e a t h . M o s t o f his e a r l i e r p r o b l e m s w e r e c o m p o s e d a l o n g o l d f a s h i o n e d lines, m a n y o f t h e m w i t h a g g r e s s i v e keys, c h e c k s , c a p tures of black m e n , cutting off flight squares or bringing the key p i e c e f r o m a n o u t - o f - p l a y p o s i t i o n . T h e n , f e w o f his p r o b l e m s illustrated any complex strategy a n d where they did the construction was often cumbersome. On the other h a n d , he c o m p o s e d s o m e l i g h t w e i g h t p r o b l e m s w i t h e x c e l l e n t keys, a s s h o w n in the a c c o m p a n y i n g selections. I n N o . 1 , o n e o f his m o r e s t r a t e g i c c o m p o s i t i o n s , t h e k e y s u b mits the white king to a double check, with another check on Black's second move. This p r o b l e m should be c o m p a r e d w i t h Loyd's " S t e i n i t z G a m b i t " (No. 32), composed nearly half a c e n t u r y later. In the initial position of N o . 1, however, there is an u n p r o v i d e d check, 1 R x R ck, t h a t w o u l d b e f o l l o w e d by a s e c o n d - m o v e c h e c k . T h e brilliant key in No. 2, a l t h o u g h it threatens a short m a t e , leads to quiet moves in two continuations. P r o b l e m N o . 3 is d e f i n i t e l y a s t r a t e g i c c o n c e p t i o n . W h i t e m a k e s a w i t h d r a w a l w a i t i n g m o v e to lead to a block position a n d then makes a sweeping second m o v e f r o m one end of a d i a g o n a l t o t h e o t h e r , a n o t h e r w a i t i n g m o v e t h a t forces B l a c k t o m o v e his k n i g h t . T h e t h r e a t line in N o . 4, m a d e possible by a surprising key, is s u p p l e m e n t e d by a q u e e n sacrifice variation w h e n Black plays 1 Sf4, the ensuing m a t e b e i n g a model. 11

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1 Eugene B. Cook New Tork Albion October 20, 1855

W h i t e mates in f o u r moves

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The

Eugene B. Cook Illustrated London News January 5, 1856

W h i t e mates in three m o v e s

4 E u g e n e B. Cook New Tork Albion July 19, 1856

W h i t e self-mates in three moves

E u g e n e B. Cook Winona Republican September 3, 1858

W h i t e mates in four moves

Eugene B. Cook

6 E u g e n e B. Cook Boston Saturday Evening Gazette September 11, 1858

Eugene B. Cook Philadelphia Daily Evening Bulletin April 12, 1862

W h i t e mates in three moves


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7 V

E u g e n e B. Cook American Chess Nuts December 25, 1868


Eugene B. Cook The Compositions of E. B. Cook [Dr. H. Keidanz) 1927


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I n t h e m i n i a t u r e , N o . 5 , f o l l o w i n g a g o o d k e y — 1 P a 4 looks m o r e p r o m i s i n g a t first g l a n c e — t h e r e i s a n e c h o o f a f a m i l i a r m a t i n g position. T h e point of the keymove appears w h e n Black plays 1 Kb5. T h e w e l l - h i d d e n w a i t i n g - m o v e key in N o . 6 is followed by further waiting moves on White's third turn, but as in so m a n y of Cook's lightweight compositions Black has a p a u c i t y of defensive play. W h e n N o . 7 w a s p r i n t e d in American Chess Nuts W h i t e ' s queen's rook was placed on the c3 square, which allowed a cook by 1 R f 3 - e 3 , P e 4 ; 2 R b 3 , K c 4 ; 3 K e 5 a n d 4 Re3-c3, or 2 Kc5; 3 RxP, Kc6; 4 Rc4. W h i l e as D r . K e i d a n z c o m m e n t e d in The Chess Compositions of E. B. Cook, t h e k e y to N o . 8 is " o b v i o u s , " t h e c o n t i n u a t i o n s a r e attractive, two of them ending in model mates.

S O L U T I O N S No. 1 1 K e 2 threat 2 B f 4 ck, K x B f 4 ; 3 Q d 2 ck, K e 5 ; 4 Q d 6 R x Q , d b l ck; 2 K f 3 , Be2 c k ; 3 K e 3 , a n y ; 4 B f 4 R b 4 dis c k ; 2 K f 3 , Be2 c k ; 3 Q x B , R x S ; 4 Bf4 R b 7 dis c k ; 2 K e 3 , R x S ; 3 Pc4 dis ck, K x B ; 4 Q x P f 6 No. 2 1 Q h 6 , P x Q . ; 2 BxP ck, B f 6 ; 3 BxB B x Q ; 2 BxP, a n y ; 3 BxP B f 6 ; 2 Be7, PxQ,; 3 BxB B any; 3 QxPg7 No. 3 1 Bb8, P h 6 ; 2 Bh2, S a n y ; 3 Sg3(x) ck, K e 5 ; 4 Se2 dis ck, K f 5 ; 5 Sd4 K f 4 ; 4 Sfl dis ck, K f 5 ; 5 Se3 No. 4 1 K h 2 threat 2 Q g l ( x ) , a n y ; 3 Q a l S f 4 ; 2 Q x S e 3 ck, K x Q ; 3 R c 2

Eugene B. Cook No. 5 1 P a 3 , K d 6 ; 2 Sb8, P d 2 ; 3 Q e 5 Kc5, d5; 3 Q c 6 K d 5 ; 2 Q e 5 ck etc. K c 7 ; 2 S b 8 etc. K b 5 ; 2 Sd7-e5 dis ck, K a 5 ; 3 Sc4 No. 6 1 Pb5, P b 6 ; 2 Sc6 ck, K d 5 ; 3 Bg8, K c 4 ; 4BxP K f 5 ; 3 K f 3 , P e 5 ; 4 Se7 No. 7 1 R c 8 , K e 4 ; 2 R g 3 , K f 4 ; 3 Rc8-g8, a n y ; 4 R g 8 - g 4 K d 4 ; 3 Rg3-c3, a n y ; 4 Rc8-c4 P e 4 ; 2 R f 3 - c 3 etc. No. 8 1 Se5, K x R ; 2 K x P g 6 , P h 5 ; 3 K h 6 , P x B ; 4 Sg6 K f 4 ; 2 BxPe6 dis ck, K x S ; 3 K e 7 , a n y ; 4 P d 4 P h 5 ; 2 B f 3 , K x R ; 3 K f 6 , P g 5 ; 4 Sg6 K h 6 ; 3 SxP, a n y ; 4 R x P h 5 K f 5 ; 3 SxP, a n y ; 4 R x P h 5

r

5

Samuel Loyd

SAMUEL LOYD ( 1 8 4 1 - 1 9 1 1 ) w a s a n o u t s t a n d i n g p i o n e e r i n illustrating p r o b l e m themes, a n d t h e u n u s u a l settings, spect a c u l a r keys a n d s u b t l e c o n t i n u a t i o n s o f s o m a n y o f his c o m positions gave h i m worldwide f a m e a n d m a d e h i m one of t h e m o s t u n i v e r s a l l y f a v o r i t e c o m p o s e r s i n chess p r o b l e m h i s t o r y . H e b e g a n c o m p o s i n g w h e n o n l y f o u r t e e n , his first p u b l i s h e d p r o b l e m a p p e a r i n g in The New York Saturday Courier on A p r i l 14, 1855. T h e n e x t h a l f - d o z e n y e a r s , d u r i n g w h i c h m a n y o f his m o s t n o t a b l e p r o b l e m s w e r e p u b l i s h e d , w a s his m o s t p r o l i f i c p e r i o d . T h e n a f t e r a c o m p a r a t i v e lull f o r a c o u p l e o f d e c a d e s , d u r i n g which he composed infrequently, he again became active in the p r o b l e m field for a short t i m e in t h e latter eighteen-seventies, after which he composed only occasionally, No. 32 being one o f his l a s t m a j o r p r o d u c t i o n s . S a m Loyd, as he is popularly known, was the pioneer in the i l l u s t r a t i o n o f t h e m e s w h i c h i n s o m e cases b e a r t h e n a m e s o f other problemists. He composed the first example of w h a t c a m e t o b e k n o w n a s t h e Plachutta interference, n a m e d a f t e r a p r o b l e m b y J o s e p h P l a c h u t t a (d. 1883) t h a t w a s p u b l i s h e d s o m e t i m e l a t e r . H e also p u b l i s h e d i n O c t o b e r , 1856, t h e f i r s t s o u n d v e r s i o n o f w h a t i s n o w t e r m e d Turton doubling, w h i c h H e n r y T u r t o n h a d s h o w n a f e w m o n t h s p r e v i o u s l y in a p r o b l e m in The Illustrated London News t h a t w a s f o u n d to be u n s o u n d . I n c o m p o s i n g the f a m o u s N o . 9 , t h e q u e e n sacrifice u n d o u b t edly was Loyd's kernel idea, b u t the quiet continuations after 1 Kh3 and 1 K f 3 are excellent. In earlier days checking keys, i f t h e c o n t i n u a t i o n s w e r e s u f f i c i e n t l y s u b t l e , w e r e n o t c o n sidered objectionable, as they are today. N o . 1 0 i s a n e a r l y e x a m p l e o f w h a t H . G . M . W e e n i n k (1892— 1921) t e r m e d C o u n t e r - B r i s t o l in his Het Schaakprobleem: Ideen en Scholen (The Chess Problem, p a g e 178), b e c a u s e its c l e a r a n c e m o v e is in the opposite direction to t h a t of t h e key piece in t h e 16

Samuel Loyd

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10 Samuel Loyd First Prize Chess Monthly 1857

Samuel Loyd Cincinnati Dispatch September 5, 1858



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12

Samuel Loyd Philadelphia Evening Bulletin 1858


Samuel Loyd Chess Monthly April, 1859


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f a m o u s first p r i z e w i n n e r b y F r a n k H e a l e y ( 1 8 2 8 - 1 9 0 6 ) i n t h e Bristol t o u r n e y of 1861, w h i c h g a v e t h e n a m e of t h e Bristol theme to that type of clearance. T h e publication of No. 10 actually a n t e d a t e d that of Healey's p r o b l e m by over two years. H e r e again Loyd was the pioneer in illustrating a theme. T h e w a i t i n g - m o v e p r o b l e m N o . 11 is initially a b e a u t i f u l e x a m p l e of a m b u s h i n g , the w h i t e q u e e n a m b u s h i n g herself b e h i n d t w o b l a c k pieces. A f t e r t h e k e y m o v e t h e p r o b l e m illust r a t e s focal action, d o u b l e d . T h e b l a c k q u e e n g u a r d s b 6 a n d h i , a n d t h e b l a c k r o o k p r o t e c t s a 8 a n d e3. S u c h p a i r s o f s q u a r e s w e r e t e r m e d foci b y t h e c o m p o s e r B a r o n W a l t h e r v o n H o l z h a u s e n ( 1 8 7 6 - 1 9 3 5 ) in a b o o k l e t e n t i t l e d Brennpunktprobleme, f i r s t p u b l i s h e d i n 1908 a n d t h e n a g a i n i n 1926 i n a n e n l a r g e d edition. A n y m o v e of the d e f e n d i n g black piece takes the g u a r d off o f o n e o r t h e o t h e r o f t h e s e f o c a l s q u a r e s . I n N o . 1 1 i f t h e black q u e e n moves u p the f i l e a n d clears the f i r s t rank, W h i t e m a t e s b y 2 Q h l ; i f she m o v e s a l o n g t h e r a n k W h i t e m a t e s b y 2 S x P b 6 . If the rook moves along the r a n k a n d opens t h e a-file White mates by 2 Q a 8 ; if the rook moves along the file W h i t e m a t e s b y 2 S x P e 3 . A s W e e n i n k states, this t h e m e w a s f i r s t s h o w n in a p r o b l e m by C. Stanley, of t h e Brighton Chess C l u b , t h a t w a s p u b l i s h e d in The Illustrated London News on O c t o b e r 6, 1849, in w h a t is k n o w n as the English Transition Period. P r o b l e m N o . 12, w h e r e o n l y t h e k i n g a n d r o o k s a r e t h e w h i t e p r o t a g o n i s t s , is a o n e - l i n e a f f a i r in w h i c h Black is f o r c e d to c o m m i t suicide. T h e q u a d r u p l i n g o f t h e Grimshaw interference, t h e m u t u a l i n terference between a black rook a n d a black bishop, n a m e d after its i l l u s t r a t i o n i n a p r o b l e m b y W a l t e r G r i m s h a w ( 1 8 3 2 - 1 8 9 0 ) p u b l i s h e d in The Illustrated London News in 1850, w a s first s h o w n b y L o y d w h e n h e w a s s i x t e e n a n d w a s a n o t h e r o f his p i o n e e r achievements. It was d u b b e d by a G e r m a n c o m m e n t a t o r the " O r g a n Pipes," because of the a r r a n g e m e n t of the bishops a n d the rooks. L o y d showed it first in a t h r e e - m o v e setting, b u t it is essentially a t w o - m o v e t h e m e . S o L o y d l a t e r l o p p e d off t h e u n t h e m a t i c f i r s t m o v e a n d p r e s e n t e d i t a s a t w o - m o v e r i n N o . 13. I n N o . 1 4 t h e w h i t e k i n g steps o n t o a s q u a r e w h e r e h e i s s u b j e c t to a discovered check. C o m p a r e this w i t h p r o b l e m N o . 32 in which the white king submits himself to a double check. In problem No. 15 a duel between the black rook a n d the

Samuel

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Loyd

14 Samuel Loyd V Boston Globe 1859

W h i t e mates in t w o moves

15

Samuel Loyd Problem Tournament Frank Leslie's February 12, 1859

Frere's


16 Samuel Loyd Chess Monthly April, 1859

Samuel Loyd V Lynn News July 6, 1859



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t w o w h i t e ones, w i t h w a i t i n g - m o v e p l a y a n d a n o n e t o o a p p a r e n t key, is shown in a m i n i a t u r e setting. If Black h a d to m o v e first t h e r e w o u l d b e a m a t e i n o n e o r i n t w o m o v e s . No. 16 is an interesting study in p a w n promotions, where on t h e s e c o n d o r o n t h e m a t i n g m o v e W h i t e chooses a q u e e n i n f o u r lines o f p l a y a n d a k n i g h t i n f o u r lines. T h e i m m e d i a t e p r o m o t i o n o f t h e p a w n o n t h e e-file w o u l d s e e m a m u c h m o r e likely k e y t h a n t h e a d v a n c e o f t h e r o o k ' s p a w n . In No. 17 the bishop on h5 interferes with each of the black rooks in t u r n , following the t h e m a t i c decoy of one or the other rook to the f2 square to capture the white queen. A beautiful feature of the problem is the symmetrical play of the W h i t e k n i g h t s i n t h e t w o t h e m a t i c lines. No. 18 is the famous "Excelsior P r o b l e m , " one of Loyd's most fantastic compositions, with an extraordinary m a i n p l a y in w h i c h B l a c k ' s series o f d e f e n d i n g m o v e s l e a d s t o a s u r p r i s i n g d e n o u e m e n t . A c c o r d i n g to L o y d " i t was composed in a spirit of fun and is a joke from beginning to end." He m a d e the problem i n 1858 a t t h e M o r p h y C h e s s R o o m s a n d d e s c r i b e d h o w i t c a m e to be composed in a letter to Alain W h i t e stating: " I t was q u i t e a n i m p r o m p t u t o c a t c h old D e n n i s J u l i e n , t h e p r o b l e m i s t , w i t h . He used to wager that he could analyse any position, so as to tell w h i c h p i e c e t h e p r i n c i p a l m a t e w a s a c c o m p l i s h e d w i t h . S o I o f f e r e d t o m a k e a p r o b l e m , w h i c h h e w a s t o a n a l y s e a n d tell w h i c h p i e c e d i d n o t give t h e m a t e . H e a t o n c e s e l e c t e d t h e Q u e e n ' s K n i g h t ' s P a w n a s t h e most i m p r o b a b l e piece, b u t t h e s o l u t i o n will s h o w y o u w h i c h o f u s p a i d f o r t h e d i n n e r . " A s W h i t e relates, the idea h a d a l r e a d y b e e n shown b y R o b e r t B. W o r m a l d (1834-1876) a couple of years earlier. " W o r m a l d c l a i m s a K n i g h t , w h i c h is p e r h a p s e v e n m o r e of a t r i c k ; b u t it is also m o r e e v i d e n t , a s i t r e q u i r e s t h e p r e s e n c e o f t h e B l a c k K i n g a t closer r a n g e . L o y d ' s p r o b l e m r e m a i n s t o this d a y t h e m o s t surprising r e n d e r i n g of the t h e m e , because Black is r e q u i r e d to m a k e s u c h u n e x p e c t e d m o v e s t o d e f e a t t h e series o f t h r e a t s a n d so b r i n g a b o u t the m a i n p l a y . " Of course the n a m e of the t h e m e was suggested by Longfellow's famous poem. A s j u s t s h o w n i n N o . 18, L o y d d e l i g h t e d i n c o m p o s i n g p r o b l e m s w i t h t h e m o s t s e e m i n g l y u n l i k e l y keys, of w h i c h N o . 19 is a s p a r k l i n g e x a m p l e . In The Theory of Pawn Promotion A l a i n White comments: " L o y d has here shown w h a t is to me the most

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18 Samuel Loyd V Cincinnati Gazette November 24, 1859

Samuel Loyd London Era January 13, 1861


W h i t e mates in five moves

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20 Samuel Loyd La Strategic June 15, 1867

Samuel Loyd Second Prize Set Paris Tourney 1867



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u n e x p e c t e d p r o m o t i o n key i n t h e w h o l e b o o k . T h e P a w n a p p a r e n t l y b o t t l e s itself u p , losing all o p p o r t u n i t y t o m o v e . T h e whole setting is m a s t e r l y . " U n l e s s a solver h a s t h o r o u g h l y a n a l y z e d t h e p o s i t i o n , t h e k e y of No. 20—disrupting the rook-bishop battery, apparently putting the king's bishop out of play a n d allowing an i m m e d i a t e discovered check, to be followed by a second c h e c k — w o u l d seem to be the most preposterous sesame to lead to a solution in four moves. Unquestionably it ranks as one of the most u n u s u a l keys e v e r c o n c e i v e d . Q u o t i n g W e e n i n k , N o . 2 0 " f o r m e d o n e o f a t o u r n e y set. T h i s s y s t e m o f t o u r n e y c o m p e t i t i o n h a d its g o o d side i n t h a t i t m a d e composers enter a n u m b e r of p r o b l e m s of different lengths, enc o u r a g i n g high average excellence. But the best individual p r o b l e m s o f t e n s u f f e r e d , a n d f i n e sets w e r e o f t e n d i s q u a l i f i e d b e c a u s e o f t h e u n s o u n d n e s s o f a single m e m b e r . " T h i s p r a c t i c e h a s long since b e e n generally a b a n d o n e d , p r o b l e m s being e n t e r e d o n a n i n d i v i d u a l basis i n m o s t m o d e r n t o u r n e y s . C o m p o s e d i n D r e s d e n , w h e n L o y d w a s a b r o a d i n 1869, N o . 21 w o n high praise f r o m E u r o p e a n problemists a n d b e c a m e one o f his m o s t f a m o u s p r o b l e m s . I t s b a s i c i d e a i s t h e s t r a t e g i c d u e l between the white queen and the black bishop, b u t the graceful setting has other points of interest. If Black h a d to m o v e first W h i t e would be able to m a t e in two moves following any m o v e of the bishop, other t h a n to f6; after 1 P g 3 a n d also a f t e r 1 P h 6 ; 2 S g 6 ck, K h 7 ; 3 P f 8 ( S !). T h e k e y c h a n g e s W h i t e ' s s e c o n d - m o v e continuations after such moves by Black. T h e m i n i a t u r e N o . 22 is an a m u s i n g example of Loyd's ingenuity. Following the p r o m o t i o n of the king's p a w n to a k n i g h t a s t h e k e y m o v e , i n e a c h o f t h e t h r e e s u c c e e d i n g lines o f p l a y W h i t e ' s s e c o n d m o v e m u s t also b e t h e p r o m o t i o n o f t h e queen's p a w n to a knight. N o . 23 is n o t a b l e f o r its fine k e y in so l i g h t a s e t t i n g , since at first glance there w o u l d seem to be m o r e effective moves for the q u e e n . T h e m o s t i n t e r e s t i n g c o n t i n u a t i o n follows 1 Bf3. I n N o . 2 4 a n o t h e r w i t h d r a w a l k e y m o v e , w h i c h sets u p a masked battery, leads to the pinning of the black knight if the black king moves. L o y d w a s f o n d o f l o n g - r a n g e k e y m o v e s , especially w h e r e t h e y s e e m a i m l e s s , a s i n N o . 25. T h e s o l u t i o n o f this p r o b l e m i s m o s t

Samuel Loyd

21

27

22 Samuel Loyd Leipziger Illustrirte Zeitung October 23, 1869

Samuel Loyd Boston Globe August 16, 1876



23

24 Samuel Loyd Detroit Free Press 1877


Samuel Loyd Centennial Problem Tourney New York Clipper 1877


24

Chess Problem Gems

o b s c u r e , since i n t h e t h r e a t l i n e b o t h W h i t e ' s s e c o n d a n d t h i r d m o v e s a r e quiet o n e s , a t e r m a p p l i e d to a m o v e t h a t is n o t a c h e c k or a capture. T h e only second checking move is w h e n Black plays 1 KxB. Again in No. 26 Loyd employs an astonishing key t h a t seemi n g l y locks u p t h e w h i t e q u e e n . I t i s a w a i t i n g - m o v e c o m p o s i tion a n d the most spectacular continuation is where t h e black king captures the knight, when White again moves the rook in the reverse direction to a l , a Bristol-type clearance move. T h e point of the keymove a p p e a r s w h e r e Black plays 1 Kf5, w h e n the rook is needed on gl to support the knight's p a w n after 2 Sf2, P x S ; 3 Pg4. It is u n f o r t u n a t e t h a t t h e rook on b5 is r e q u i r e d only w h e n Black plays 1 KxS and 2 - - KxP. L o y d ' s skill i n c o m p o s i n g p r o b l e m s w i t h a m i n i m a l n u m b e r o f m e n i s s h o w n i n t h e m a n e u v e r i n g o f t h e pieces i n t h e d a i n t y No. 27. W h i l e in his Chess Strategy L o y d stressed t h e i m p o r t a n c e of w h a t he termed "neatness of position," he enjoyed creating an o c c a s i o n a l e x t r a v a g a n z a s u c h a s N o . 28, w h i c h h e d u b b e d " T h e American I n d i a n , " apparently with reference to the Indian's w a r p a t h t a c t i c o f a m b u s h i n g his e n e m y . A s A l a i n W h i t e e x p l a i n s in Sam Loyd and his Chess Problems, t h e p r o b l e m " w a s p u r posely posed t o b e puzzling, a n d t h e extra m e n p u t o n t h e b o a r d w e r e i n t e n d e d t o m a k e t h e p o s i t i o n m o r e like o n e i n a c t u a l p l a y , s o a s t o e n t i c e p l a y e r s (to w h o m t h e k e y w o u l d b e e v e n m o r e i m p r o b a b l e t h a n t o solvers) t o t r y i t . " W h i t e also r e m a r k s : " T h e long key m o v e required to give the m a t e , w h e n Black m a k e s a correspondingly long m o v e in the opposite direction, has bec o m e f a m i l i a r t o solvers n o w - a - d a y s , a n d I d o n o t t h i n k L o y d ' s p r o b l e m w o u l d prove nearly as difficult to-day as w h e n it was composed." T h e idea, however, was not original w i t h L o y d since B. G. Laws (1861-1931) h a d already shown the theme in an orthogonal setting a n d conventional form in a p r o b l e m published in 1885. I n 1892, t h r e e y e a r s a f t e r t h e p u b l i c a t i o n o f N o . 28, L o y d also s h o w e d t h e t h e m e i n a n o r t h o g o n a l s e t t i n g i n N o . 29, c o m p o s e d f o r a m e e t i n g o f t h e N e w Y o r k S t a t e Chess A s s o c i a t i o n , a s w a s his f r e q u e n t l y q u o t e d N o . 30, w i t h its a t t r a c t i v e w i t h d r a w a l key.

i

Samuel Loyd

25

25

26 Samuel Loyd First Prize Set American Chess and Problem Association 1878


V

Samuel Loyd Holyoke Transcript 1878


27 Samuel Loyd Milwaukee Telegram circa 1885


Samuel Loyd New York Sunday Herald 1889


14°

Chess Problem. Gems

No. 31 is typical of m a n y of the two-movers of the era in w h i c h i t w a s c o m p o s e d . I t d o e s n o t h a v e a n y specific t h e m e o t h e r t h a n a variety of battery mates, c o m b i n e d with black self-pinning moves in two variations. A g a i n q u o t i n g A l a i n W h i t e : " F e w e v e n t s d u r i n g t h e last t e n y e a r s o f L o y d ' s life g a v e h i m a s m u c h p l e a s u r e a s his w i n n i n g t h e first p r i z e i n t h e N o v e l t y T o u r n e y o f t h e little C a n a d i a n m a g a z i n e Checkmate." T h e m o t t o u n d e r w h i c h L o y d e n t e r e d N o . 32, " T h e S t e i n i t z G a m b i t , " w a s s u g g e s t e d b y t h e d i s t i n c tive m o v e i n t h a t chess o p e n i n g , 5 K e 2 , a n d t h e p r o b l e m h a s c o m e t o b e u n i v e r s a l l y k n o w n b y t h a t m o t t o . I n 1855 C o o k p u b l i s h e d a f o u r - m o v e r , N o . 1, w h e r e t h e w h i t e k i n g m a k e s a k e y m o v e t h a t permits Black to give a d o u b l e check, b u t in the initial position of Cook's p r o b l e m the white king w o u l d be t h r e a t e n e d b y a series o f c h e c k s w e r e B l a c k t o h a v e t h e f i r s t m o v e . I n N o . 3 2 t h e k i n g m o v e s f r o m a safe p o s i t i o n i n t o a p p a r e n t peril. A h a l f c e n t u r y a g o , in his Memories of my Chess-Board, A l a i n W h i t e wrote: " S a m Loyd has n o w been a n a m e to conjure with f o r w e l l u p w a r d of fifty y e a r s . . . . He w a s t h e first r e a l c o m poser I k n e w ; a n d he remains the greatest I have ever k n o w n . " T h e n in Sam Loyd and his Chess Problems W h i t e s t a t e d : " T h e fates h a d given h i m in large m e a s u r e the e n d o w m e n t of genius. H e c o u l d see a t a g l a n c e w h a t o t h e r p e o p l e c o u l d see, o r a t l e a s t c o u l d b e m a d e t o see, v e r y slowly. H i s g e n i u s w a s n o t t h e p r o verbial infinite capacity for t a k i n g pains. It was r a t h e r an infinite capacity of concentration. Ideas c a m e to h i m with great fecundity, often too rapidly for h i m to analyze t h e m completely. Y e t his p o w e r s f o r r a p i d a n a l y s i s w e r e a l m o s t u n r i v a l l e d . H e c o u l d see a n i d e a f r o m m a n y sides a t o n c e ; f i r s t a l w a y s f r o m the point of view of a puzzle, then f r o m the h u m o r o u s standpoint, finally f r o m the artistic a s p e c t . "

Samuel Loyd

29

27

30 Samuel Loyd New York State Chess Association February 22, 1892

Samuel Loyd New York State Chess Association February 22, 1892



32

31 New

Samuel Loyd York Commercial Advertiser 1897


Samuel Loyd First Prize Novelty Tourney Checkmate 1903


14°

Chess Problem. Gems

S O L U T I O N S No. 9 1 Sg4 dis ck, K h l ; 2 Q h 2 ck, P x Q ; 3 S f 2 K h 3 ; 2 Sh2 threat 3 R h 8 SP any; 3 Q h 8 K f 3 ; 2 Qc2, Pg2; 3 Q d 3 K f l ; 2 Ra8, any; 3 R a l N o . 10 1 Ba8 threat 2 Q b 7 a n d 3 Q h l S any; 2 Qb6(x), any; 3 Q g l Pf4; 2 Qg6, any; 3 Q g l K f l ; 2 Q x P ck, K e l ; 3 Q f 2 No. 11 1 Q a l waiting Q x Q ; 2 SxPb6 Q b 2 , b5; 2 Q h l

1 - - R x Q ; 2 SxPe3 Rb3, d3; 2 Q a 8

No. 12 1 R a 2 - f 2 , P a 4 ; 2 K d 2 , P a 3 ; 3 R a l , P a 2 ; 4 K e l , BxR c k ; 5 K x B N o . 13 1 Q a 5 waiting Bd7; 2 Q d 5 Be6; 2 Q e 5 Bb7, f 5 ; 2 Sf5(x) R d 7 ; 2 Sf5 Rd6; 2 QxPb4 Rd5; 2 Q x R

1- - Re7; Re6; Re5; Be7; Bd6; Bc5;

2 2 2 2 2 2

QxPb4 Sf5 QxRe5 Qe5 Qd5 Qal

No. 14 1 K c 2 , K x P dis ck; 2 Sc3, K c 4 ; 3 Q f 4 K else; 3 Q x R K b 5 dis ck; 2 K b 3 , R c 3 c k ; 3 SxR Rc2, c l ; 3 Q b 8 R d 5 ; 2 Sb2 ck, K d 4 ; 3 Q f 4 R else; 2 Sb2 ck, K b 5 ; 3 Q b 8

Samuel Loyd

29

N o . 15 1 R g 5 , R h l ; 2 Rg2, R h 3 ; 3 R x P R else; 3 R h 2 ( x ) R g 2 , a 2 ; 2 R x P h 5 ck, K x R ; 3 R h 3 N o . 16 1 Pa7, P x P ; 2 P a 8 ( S ) , Sc5; 3 S b 3 x P S d 6 ; 3 Sc4xPa5 S d 8 ; 3 PxS(S) Pd6, d5; 3 P e 8 ( Q ) Sc5; 2 P a 8 ( Q ) ck, K c 7 ; 3 Pe8(S) Sb7; 3 Q c 8 S d 6 ; 2 P a 8 ( Q ) ck, K c 7 ; 3 P x S Pd6, d 5 ; 2 P e 8 ( Q ) ck, K c 7 ; 3 Pa8(S) N o . 17 1 Q f 2 threat 2 Q x R f 4 R f 4 x Q ; 2 Se7 threat 3 Sc6 Bf3; 3 Sf5 R d 2 x Q ; 2 Sa3 threat 3 Sb5 Be2; 3 Sc2 B f 3 or S f 3 ; 2 Sa3 N o . 18 1 P b 4 threats 2 R d 5 a n d 2 R f 5 R c 5 ck; 2 P x R , P a 2 ; 3 Pc6, Bc7; 4 PxP, a n y ; 5 P x S ( Q ) R c 6 ; 2 R d 5 , R h 6 c k ; 3 K x R , Bg5 ck; 4 SxB, a n y ; 5 R d l Bg5; 2 R f 5 , B f 4 ; 3 RxB, R c 5 c k ; 4 P x R , a n y ; 5 R f l N o . 19 1 Pa8(B) K f 8 ; 2 P b 8 ( Q ) ck, K f 7 ; 3 Bd5 Ke8; 2 Ke6 Kg8; 2 Kg6 N o . 20 1 BxP threat 2 BxP threat 3 Q c 8 ck, Q x Q ; 4 B x Q Q x B ck; 3 K x Q PxB dis ck; 2 Pb7, Q e 6 ; 3 Q c 8 Q c 5 ; 2 Qe8, Q c 6 ; 3 QxQ. Q c 2 ; 2 Be2, Q x B ; 3 Q c 8 ck

14°

Chess Problem. Gems

N o . 21 1 Q f l , Ph6, h 5 ; 2 Q b l threat Q h 7 Pg6; 3 Q x B Bb2; 2 Q b l Bc3, d 4 ; 2 Q d 3 Be5, f 6 ; 2 Q f 5 P g 3 ; 2 Sg6 ck, P x S ; 3 Q h 3 N o . 22 1 Pe8(S) ck, K f 8 ; 2 Pd8(S), a n y ; 3 Sg6 K h 6 ; 2 Pd8(S), S a n y ; 3 Sd8-f7 KxSh8, 2 Pd8(S), S any; 3 Sf7 N o . 23 1 Q g 3 threat 2 Q g 8 threat 3 Q a 8 Ka6; 2 QxP Ka4; 2 Qc3 Bb3, a 4 ; 2 Q x P ck Bf3; 2 Q g 8 No. 24 1 Q a 6 waiting K f 6 ; 2 Bd8 K h 6 ; 2 Be3

1 - - K g 4 ; 2 Rg7 S moves; 2 Bd8 or Be3

N o . 25 1 Q f 8 threat 2 SxP threat 3 SxP, K x S ; 4 Q b 4 K c 4 ; 2 SxP, K x P ; 3 S x P K x S ; 3 Q c 5 ck K x B ; 2 Sb4-c2 ck, K a 2 , b2, b 3 ; 3 Q a 3 ck N o . 26 1 R g l waiting KxS; 2 R a l , K e 4 ; 3 Q b l KxP; 3 Q f l K else; 3 Q d l K f 5 ; 2 S f 2 , PxS; 3 Pg4 PxR(S); 3 Q h 5 P x R ( S ) ; 2 Sd3-c5 ck, K f 5 ; 3 Q h 5 N o . 27 1 R d 2 , Sgl c k ; 2 K g 3 , S h 3 ; 3 R e 2 , S g l ; 4 R x P else; 4 R e l Sf3; 3 KxS Se2 ck; 3 R x S Sc3; 2 R c 2 , Sa2, e 2 ; 3 R x S Sdl; 3 Rcl

Samuel Loyd 29 N o . 28 1 B f 8 threat 2 Q a l BxR; 2 B x Q

31

N o . 29 1 R a 6 threat 2 Q f l RxB;2 RxR KxB; 2 Rf6 SxB or P x B ; 2 Bg5

N o . 30 1 Q a l threat 2 Q e l Ke4; 2 Q d 4 K else; 2 R g 2 N o . 31 1 Q h 7 waiting S x Q ; 2 SxS SxR; 2 Kg5 K x S ; 2 Sd3

1 - - S x S ck; 2 KxS Se7 c k ; 2 Q x S K e 5 ; 2 Sd3

N o . 32 1 K e 2 , P f l ( Q ) dbl c k ; 2 K e 3 , Q, B or R checks; 3 B or R captures the checking piece P f l ( S ) dis ck; 2 R f 2 dis ck; K x S ; 3 Bd3 or P d 3 K d 4 ; R f 4 dis ck, P e 5 ; 3 SxB K x S ; 2 Bd3 ck, K d 4 ; 3 R f 4 Scl ck; 2 K e 3 R e 7 ; 2 R f 7 dis ck

William Meredith

WILLIAM MEREDITH ( 1 8 3 5 - 1 9 0 3 ) , a l t h o u g h b o r n s o m e y e a r s before Loyd a n d Carpenter, apparently did not begin to comp o s e u n t i l his m i d d l e t w e n t i e s , his first p u b l i s h e d p r o b l e m o f w h i c h t h e r e i s a n y r e c o r d a p p e a r i n g i n t h e O c t o b e r 7 , 1870, issue of The Philadelphia Evening Bulletin. H e d i d n o t b e c o m e p r o m i n e n t a s a c o m p o s e r d u r i n g his lifet i m e , p r i m a r i l y b e c a u s e a m a j o r i t y o f h i s t o t a l o f less t h a n t w o h u n d r e d p r o b l e m s w e r e c o n t r i b u t e d t o a single p u b l i c a t i o n , O r e s t e s A. B r o w n s o n ' s Dubuque Chess Journal. It was not until the era of the G o o d C o m p a n i o n Chess Probl e m C l u b , y e a r s a f t e r M e r e d i t h ' s d e a t h , t h a t his o u t s t a n d i n g ability b e c a m e fully recognized. T h e G o o d C o m p a n i o n s m a d e a sort of p a t r o n saint of h i m a n d , because of t h e e c o n o m y w i t h w h i c h s o m a n y o f his p r o b l e m s w e r e c o n s t r u c t e d , t e r m e d t w o m o v e r s w i t h a t o t a l o f t w e l v e o r less m e n M e r e d i t h s a n d c o n d u c t e d special tourneys for such problems. While Meredith's reputation has been based largely on the e x c e l l e n c e o f his t w o - m o v e r s , . h e c o m p o s e d n o t a b l e t h r e e , f o u r a n d f i v e - m o v e p r o b l e m s , a s s h o w n i n t h e a c c o m p a n y i n g selections. N o . 3 3 i s s u p p o s e d t o h a v e b e e n t h e first p r o b l e m b y M e r e d i t h p u b l i s h e d in t h e Dubuque Chess Journal. T h e r e is little, v a r i e t y in t h e play, b u t the key is obscure a n d t h e g u a r d i n g of t h e e5 a n d g5 squares in the m a t i n g positions in two different ways in the t w o m a j o r lines h a s a p l e a s i n g e c h o i n g e f f e c t . Again in No. 34 there is small variety in the play, b u t there are echoed model mates in two of the three variations, one of them being a mirror model. At the time No. 35 appeared m u c h attention was being paid, b e c a u s e o f E n g l i s h i n f l u e n c e s , t o p u r e m a t e s a n d all t h e m a t e s i n this p r o b l e m w h e n B l a c k m a k e s e f f e c t i v e d e f e n s i v e m o v e s a r e pure. On the other h a n d , the n u m e r o u s dual mates which 32

William

33

Meredith

34 William Meredith Dubuque Chess Journal August, 1871

William Meredith Fifth Prize, Fourth Tourney Dubuque Chess Journal January, 1872



35


William Meredith Maryland Chess Review March, 1875



37

12

Chess Problem Gems

37

38 William Meredith V Westminster Papers June, 1877


39 William Meredith Brooklyn Chess Chronicle August 15, 1885


William Meredith Westminster Papers July, 1877


40 William Meredith Dubuque Chess Journal November, 1886


William

Meredith

35

follow indifferent black moves a p p a r e n t l y did not disturb Meredith, although English composers went to great lengths to avoid a n y such dual mates. I n N o . 3 6 i t m a y p r o v e s o m e w h a t p u z z l i n g t o t h e solver t o discover the zigzag route the white bishop must take to t h r e a t e n mate from the d6 square. P r o b l e m 37 is a highly strategic composition, t h e surprising withdrawal keymove, leading to the formation of the knightbishop battery, being a n u n i q u e conception. T h e s e c o n d a r y line of play, in which the white king submits to a check by the prom o t i o n of a black p a w n to a knight, adds to the c h a r m of the p r o b l e m . It should be n o t e d t h a t the initial position is a c o m plete block. If Black h a d to m o v e first a n d played Pc4, p r e v e n t i n g Sc4, W h i t e c o u l d c o n t i n u e w i t h S d 7 , K g 4 ; B e 6 ck, K f 3 ; Se5 ! I n N o . 38, a s i n N o . 37, a w i t h d r a w a l k e y l e a d s t o t h e f o r m a t i o n o f a b a t t e r y , i n this c a s e a c o m b i n e d d i r e c t a n d i n d i r e c t o n e , to m e e t B l a c k ' s 1 Pe4. A n o t h e r striking w i t h d r a w a l key, characteristic of so m a n y of M e r e d i t h ' s compositions, makes No. 39 a notable miniature, despite the lack of any variety in the play. T h e k e y o f N o . 4 0 i s r e m a r k a b l e s t r a t e g i c a l l y b e c a u s e o f its sixfold e f f e c t . P r i m a r i l y i t h a s t h e t w o f o l d e f f e c t o f i n d u c i n g a Nowotny interference b e t w e e n t h e b l a c k r o o k a n d b i s h o p a n d a t the same time it vacates the f4 square to allow the knight to m o v e there to mate. A N o w o t n y interference, n a m e d from a p r o b l e m p u b l i s h e d i n 1854 b y A n t o n N o w o t n y ( 1 8 2 9 - 1 8 7 1 ) , differs f r o m a G r i m s h a w interference in that in the N o w o t n y a white m a n moves onto the square where the potential moves of a black rook and a black bishop intersect. Whichever black piece captures the obstructing w h i t e m a n interferes with the m o v e m e n t o f t h e o t h e r b l a c k p i e c e . T h e k e y m o v e o f N o . 4 0 also y i e l d s a flight c a p t u r e to the black king, g u a r d s e7 a n d f8 if the king makes the capture a n d then prevents the black queen from capturing the checking bishop. I n c o m m e n t i n g u p o n N o . 41, O t t o W u r z b u r g n o t e d t h a t " T h e r e a r e n o less t h a n t w e n t y - s i x ' t r i e s ' t h a t a r e d e f e a t e d e a c h by o n l y o n e m o v e of B l a c k . . . . T h i s is p r o b a b l y a r e c o r d seld o m a p p r o a c h e d . " T h e p r o b l e m is a complete block with two a d d e d m a t e s m a d e possible b y the startling keymove.

Chess Problem Gems

36

41

42 William Meredith Dubuque Chess Journal December, 1886

William Meredith Dubuque Chess Journal March, 1887



43

44 William Meredith Dubuque Chess Journal April, 1887

William Meredith Dubuque Chess Journal August, 1887



William

45

Meredith


William Meredith Dubuque Chess Journal August, 1889



47 William Meredith First Prize, Ninth Tourney Dubuque Chess Journal December, 1889

W h i t e mates in t w o m o v e s

48 William Meredith Dubuque Chess Journal June, 1890


37

14°

Chess Problem. Gems

Still a n o t h e r l o n g w i t h d r a w a l k e y m o v e , o f w h i c h M e r e d i t h was so fond, leads in N o . 42 to a surprising d e n o u e m e n t — a model m a t e by a pawn. O n c e again a brilliant long w i t h d r a w a l keymove in N o . 43 permits the queen to g u a r d the c3 a n d c4 squares so as to allow t h e t h r e a t m a t e , 2 Se6. T h e d u a l m a t e s f o l l o w i n g i n d i f f e r e n t moves of the black q u e e n are too insignificant to affect the beauty of the problem. In the thematic m a i n p l a y of No. 44 the white q u e e n sweeps across the r a n k for the k e y m o v e a n d t h e n d o w n the d i a g o n a l t o the bishop's square to mate, after her p a t h has been cleared by t h e r e m o v a l o f t h e w h i t e a n d b l a c k p a w n s . T h e v a r i a t i o n following Black's defense by 1 Q h 4 , in which the white queen first c h e c k s b y 2 Q e 3 a n d t h e n goes o n t o m a t e b y 3 Q a 3 , a d d s t o t h e a t t r a c t i v e n e s s o f t h e p r o b l e m a n d h e l p s t o offset t h e d e m e r i t of the short threat, 2 Q e 3 . I n t h e t w o t h e m a t i c lines i n N o . 4 5 t h e w h i t e r o o k a n d w h i t e bishop, each in turn, m a k e anticritical moves, w i t h d r a w a l s a c r o s s t h e c r i t i c a l s q u a r e w h e r e t h e lines o f m o v e m e n t o f t h e two pieces intersect. N o . 45 is an e x a m p l e , with a m i n i m a l w h i t e force, of such strategic play. If Black captures the w h i t e p a w n t h e ensuing m a t i n g positions are m o d e l mates. I n N o . 4 6 t h e solver a g a i n will e n c o u n t e r M e r e d i t h ' s f a v o r i t e t y p e o f key, a s w e e p i n g m o v e o f t h e q u e e n f r o m t h e t o p t o t h e b o t t o m of a file, leading to p i n - m a t e s following either m o v e of the black king. T h e prize-winning No. 47—reproduced as the ninth problem in A Century of Two-Movers, t h e first v o l u m e in t h e series of p r o b lem books printed at F r a n k Altschul's private O v e r b r o o k Press—probably became Meredith's most widely k n o w n twomover. T h e mating threat is not too a p p a r e n t at first glance. N o . 48, o p e n i n g w i t h a n o t h e r l o n g - r a n g e k e y m o v e , c o m b i n e s in its t w o t h e m a t i c lines a Turton doubling a n d Herlin pericritical play, t h e l a t t e r b e i n g a m a n e u v e r n a m e d f r o m a p r o b l e m p u b l i s h e d i n 1845 b y T h . H e r l i n , u n d e r his p s e u d o n y m " T h e Anonymous Composer of Lille."

William

Meredith

S O L U T I O N S N o . 33 1 R d 7 threat 2 Sd2 ck, K e 5 ; 3 P f 4 ck, K x R ; 4 R f 7 B f 3 ; 2 Sd2 ck, K e 5 ; 3 SxB ck, K x R ; 4 R f 7 Ke4; 4 Rd4 K e 5 ; 2 Sd2 etc. N o . 34 1 Sd7, K d 2 ; 2 Sc5, K e l ; 3 S b 3 K e 3 ; 3 Sc4 K e l ; 2 Bc3

N o . 35 1 Q,g4 threat 2 Se6 QxQ,; 2 Sb3 K x S ; 2 Bb6 SxS;2 Pb4

N o . 36 1 Ba3 threat 2 P b 5 Bgl a n y ; 2 Se7, K c 7 ; 3 Sc6 dis ck, K a n y ; 4 P b 5 K x P ; 3 Sc6 dis ck, K x S ; 4 P b 5 Ka8; 4 Ra7 K c 8 ; 4 Be6 P d 3 ; 2 Pb5, Bb6 c k ; 3 KxB, a n y ; 4 Bd6 S f 4 ; 2 Pb5, Sd5, e 6 ; 3 BxS, a n y ; 4 Bd6 N o . 37 1 Bb7, P c 4 ; 2 Sd7, K g 4 ; 3 Bc8, K f 5 ; 4 Q h 3 else; 4 Se5 P c 2 ; 2 BxSd2, P c l ( S ) c k ; 3 K x P , a n y ; 4 BxS N o . 38 1 Q d 6 , P e 4 ; 2 Sf4, a n y ; 3 Sg2 Sc3; 2 Q_b4, a n y ; 3 QxS N o . 39 1 Q c 8 , K e 2 ; 2 Q,g4 ck, K d 3 ; 3 Q c 4 K f l ; 3 Se3 N o . 40 1 Q b 4 threats 2 Se7 a n d S f 4 BxQ,; 2 S f 4 RxQ,; 2 Se7 QxQ,;2Sh8 QxPck;2SxQ. KxS; 2 Sf4

N o . 41 1 Q h 5 waiting PxQ,; 2 S f 5 S a l a n y ; 2 Sc2(x) K x S ; 2 Bc5 Se5; 2 Bc5 S d 3 else; 2 Q h 8

35

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Chess Problem. Gems

N o . 42 1 Ba2, P b 3 ; 2 Pf7, PxB ck; 3 K x P a 2 , P b l ( Q ) ck; 4 K x Q , B g 7 ; 5 PxB 4 - -else; 5Pf8(Q) No. 43 1 Q c 8 threat 2 Se6 K x S ; 2 Sb5 Q x Q ; 2 Sc7-b5

1 - - Q x S ; 2 QxS Qb3; 2 QxS BxS; 2 Q g 4

No. 44 1 Q h 6 threat 2 Q e 3 m a t e Q x B ; 2 P d 4 ck, P x P e p ; 3 Q c l P e 5 x P ; 3 BxPd4 Q h 4 ; 2 Q e 3 ck, Q d 4 ; 3 Q a 3 Q , g l ; 2 Q f 8 ck, S c 8 a n y ; 3 Q.xS Sc6 c k ; 2 Q.xS ck, B x Q ; 3 S a 6 No. 45 1 S d 5 threats 2 R b l a n d B a 7 Pf5; 2 R b l , PxP; 3 Sb6 B h 7 ; 2 Ba7, B x P ; 3 S e 3 N o . 46 1 Q a l waiting Ke4; 2 Q,bl Kf6; 2 RxSf7 Sf7 any; 2 Q x S SxB; 2 Q f l Se5 else; 2 B d 3 ( x )

No. 47 1 Q,d2 threat 2 Q.h2 Q x Q , ; 2 Sc4 Qd4; 2 Q x Q Q e 4 , f 5 ; 2 Sd7 Pg4; 2 Q f 4

No. 48 1 Bh7, K x P ; 2 Bg8, K e 5 ; 3 Q f 4 Kc5; 3 Q d 5 Kc3; 3 QxPc4 Pc3; 3 Q d 5 K b 3 ; 2 Q b 7 ck, K a 4 ; 3 Q b 4 K else; 3 Q b 2 Bf5; 2 QxB, K b 3 ; 3 Q c 2

George E. Carpenter

GEORGE EDWARD CARPENTER ( 1 8 4 4 - 1 9 2 4 ) l e a r n e d to p l a y chess w h e n t h i r t e e n , s t a r t e d t o c o m p o s e p r o b l e m s a y e a r o r t w o l a t e r a n d c o n t i n u e d t o d o s o f o r n e a r l y sixty-five y e a r s . F o l l o w i n g Loyd's early period of activity a n d before S h i n k m a n b e c a m e p r o m i n e n t , C a r p e n t e r for a time was the most distinguished active American composer. A l t h o u g h , like C o o k , s o m e o f his p r o b l e m s a p p e a r o l d fashioned in comparison with m o d e r n standards of composition, a n u m b e r of Carpenter's were definitely strategic a n d m a n y of t h e m h a d sparkling keys. S o m e w h a t h e a v i l y set s i n c e i t e m p l o y s a l l t h e w h i t e p i e c e s , N o . 49, C a r p e n t e r ' s best k n o w n t w o - m o v e r , h a s a n excellent k e y t h a t gives t h e b l a c k k i n g f o u r a d d i t i o n a l f l i g h t s q u a r e s , w i t h four different mating moves by the d5 knight. No. 50 is an early example of an a d d e d - m a t e block. T h e h4 white p a w n prevents a cook; without it W h i t e could play 1 R h 4 ck. In A Sketchbook of American Chess Problematists, A l a i n W h i t e c o m m e n t e d t h a t N o . 5 1 w a s " c o n s i d e r e d i n its d a y a s o f p r e eminent construction, with eight variations, including four mates by the White K n i g h t battery." While the key threatens d u a l mates, each c a n be forced in t u r n by a black defensive move. W i t h one variation in addition to the threat, No. 52 is a neat illustration of white rook play. C a r p e n t e r was especially interested i n p a w n p r o m o t i o n effects. I n N o . 5 3 t h e solver, a t f i r s t g l a n c e , n a t u r a l l y w o u l d c l a i m a q u e e n r a t h e r t h a n m a k i n g t h e less o b v i o u s p a w n p r o m o t i o n t o a k n i g h t ; b u t if 1 Pe8(Q,), K a 7 ; 2 Q b 5 , S c 4 ! F o l l o w i n g a w a i t i n g - m o v e k e y i n N o . 54, a n o t h e r w h i t e r o o k problem, White makes further waiting moves in each of the two lines of play, leading to e c h o e d m a t i n g positions. 41

Chess Problem Gems

12

49

50

George E. Carpenter First Prize Dubuque Chess Journal 1871

George E. Carpenter Chess Record September, 1874



51 George E. Carpenter Carpenter's Chess Problems (•Orestes A. Brownson) 1876


52 George E. Carpenter Q, The White Rooks 1876


George E. Carpenter

53

54 George E. Carpenter Westen und Daheim 1907

George E. Carpenter The Falkirk Herald February 15, 1911



55

56 George E. Carpenter The Philadelphia Item 1911


George E. Carpenter Westen und Daheim 1911


43

12

Chess Problem Gems

57 George E. Carpenter The Pittsburgh Gazette-Times May 26, 1912


59 George E. Carpenter Second Honorable Mention Fourth Meredith Tourney Good Companions February, 1917


58 George E. Carpenter The White King 1914


60 George E. Carpenter Densmore Memorial Tourney 1918


George E. Carpenter

45

Although the keymove of No. 55 deprives the black king of o n e o f his f l i g h t s , t h e r e i s c o n s i d e r a b l e v a r i e t y i n t h e p l a y , t h r e e of W h i t e ' s second moves being quiet ones a n d the u n u s u a l e c h o i n g lines f o l l o w i n g t h e c a p t u r e o f e i t h e r k n i g h t b e i n g e s p e c i a l l y a t t r a c t i v e . N o t e t h a t t h e w h i t e k i n g also t a k e s a p a r t in one of the m a t i n g positions. I n a n o t h e r o f C a r p e n t e r ' s s t u d i e s i n p a w n p r o m o t i o n , N o . 56, t h e choice of m i n o r pieces instead of a q u e e n on b o t h W h i t e ' s first a n d s e c o n d m o v e s i s n e c e s s a r y t o a v o i d s t a l e m a t e . A long-range illustration of w h a t has fancifully been t e r m e d t h e Durbar theme, i n w h i c h e v e r y w h i t e m o v e i s m a d e b y t h e k i n g , i s s h o w n i n N o . 57. I n t h i s e x a m p l e t h e r e i s o n l y o n e l i n e of play. Carpenter composed an eleven-move problem in which the white king m a d e ten consecutive moves and two of the four m a t i n g moves, the other two being m a d e by knights. I n N o . 58, a n o t h e r D u r b a r , t h e w h i t e k i n g m a k e s t h e first a n d second moves, a n d then discovers m a t e on the third m o v e either vertically or diagonally according to the location of the black k i n g . D i s c o v e r e d m a t e s b y t h e w h i t e k i n g , b o t h a l o n g a file a n d a diagonal, h a d been shown previously by M. L a n s q u e n e t in a t w o - m o v e D u r b a r p u b l i s h e d i n t h e A u g u s t , 1880, issue o f L a Strategie. P r o b l e m 5 9 i s a c o m p l e t e b l o c k , m a t e s b e i n g set i n t h e i n i t i a l position for any move by Black. N o n e of the four mates is c h a n g e d b y W h i t e ' s w a i t i n g m o v e key. T h e m i n i a t u r e No. 60 is of a different type t h a n most of C a r p e n t e r ' s e a r l i e r p r o b l e m s . T h e k e y gives t h e b l a c k k i n g t w o f l i g h t c a p t u r e s , a l t h o u g h t h e solver will s o o n n o t e t h a t a m a t i n g continuation must be provided to meet 1 Kc7.

Chess Problem. Gems

14°

S O L U T I O N S N o . 49 1 Q d 6 waiting K c 2 , c4; 2 SxP K d 2 ; 2 Sd5-b4 K d 4 ; 2 Sb6 K e 4 ; 2 Se7 P e l ; 2 Sb6

No. 51 Bc8 threats 2 Sc5 a n d SxPg5 Q x R o r R x P ; 2 SxPg5 S x Q ; 2 Sc5 K e 5 ; 2 SxS K x S ; 2 Sd4 QxSe6; 2 Rd4 SxS; 2 Q x Q RxS; 2 Q x R SxR; 2 Q x Q

N o . 50 1 R h l waiting Kg3; 2 Q h 2 K e 3 ; 2 Sd5 P e 3 ; 2 Sd5 Kf5; 2 Q f 7 Pf2; 2 QxP N o . 52 1 R h l threat 2 R h l - e l threat 3 Re3-e2 K x R ; 2 Kg3, any; 3 R e l N o . 53 1 Pe8(S), a n y ; 2 Sc6(ck), a n y ; 3 Sc7 N o . 54 1 Pc5, K x R a 6 ; 2 Rc7, K a 5 ; 3 R a 7 KxRc8; 2 Rb6, K d 8 ; 3 R b 8 N o . 55 1 Q g l , KxSc7; 2 Qa7, any; 3 Pb8(Q) KxSe7; 2 Qg7, any; 3 P f 8 ( Q ) K d 7 ; 2 Qc5, K d 8 ; 3 Q d 6 K e 5 ; 2 Q g 3 ck, K d 4 ; 3 Se6 Kf6; 3 Pf8(Q) N o . 56 1 Pb8(B), K e 7 ; 2 Ph8(B), K d 8 ; 3 B f 6 K f 8 ; 3 Bd6

George E. Carpenter N o . 57 1 Ke4, K a 8 ; 2 Kd5, K b 8 ; 3 Kc6, K a 8 ; 4 Kc7 N o . 58 1 K f 4 , K d 5 ; 2 Ke3, Ke6; 3 K d 4 Pd5; 2 Kf5, KxS; 3 Ke5 M. Lansquenet La Strategie August, 1880


1 Kd3, Kb5; 2 Kd4 Kd6; 2 Kc4 Kd5; 2 Qe5 N o . 59 1 Q e 3 waiting B any; 2 Q x P S d 5 a n y ; 2 Sc3(x) Se2; 2 Q b 3 S g l else; 2 Q f 3 N o . 60 1 Se7, K x S e 7 ; 2 Q c 6 , K d 8 ; 3 Q d 7 P a n y ; 3 Bh4 K x S e 5 ; 2 Q d 5 ck, K f 4 ; 3 Q f 5 K c 7 ; 2 Q c 6 ck, K b 8 ; 3 Sd7 Kd8; 3 Qd7 K e 6 ; 2 Q d 5 ck, K x S e 7 ; 3 Q d 7 P x S ; 2 Q c 6 ck, K e 7 ; 3 Bh4 P f 5 ; 2 Q c 6 ck, K x S e 5 ; 3 Sg6 K x S e 7 ; 3 Bh4

45

William A. Shinkman

WILLIAM A. SHINKMAN ( 1 8 4 7 - 1 9 3 3 ) w a s t h e m o s t p r o l i f i c of A m e r i c a n problemists, composing some thirty-five h u n d r e d p r o b l e m s . H i s style o f c o m p o s i t i o n w a s s i m i l a r t o L o y d ' s , b u t w h e r e a s L o y d f r e q u e n t l y w a s c o n t e n t w i t h s h o w i n g a single example of a theme, S h i n k m a n would experiment with various i l l u s t r a t i o n s of it. As A l a i n W h i t e w r o t e in Sam Loyd and his Chess Problems, " L o y d t o y e d w i t h t h e m e s , S h i n k m a n m a s t e r s them." I n t h e i n t r o d u c t i o n t o The Golden Argosy t h a t w a s w r i t t e n b y O t t o Wurzburg, Shinkman's nephew, he stated that " L o y d is r e p o r t e d t o h a v e a d m i r e d S h i n k m a n ' s w o r k b e y o n d all o t h e r s a n d w i t h o u t q u a l i f i c a t i o n , a n d o f all c o m p o s e r s o f a l l t i m e s S h i n k m a n holds L o y d as his f a v o r i t e . " S i n c e i t w a s a b o u t 1870, a c c o r d i n g t o W u r z b u r g , t h a t S h i n k m a n a c t i v e l y s t a r t e d o n his c o m p o s i n g c a r e e r , N o . 6 1 w a s o n e o f his e a r l i e s t c o m p o s i t i o n s a n d r e m a i n e d o n e o f his f a v o r i t e two-movers. T h e exact square to which the key bishop must m o v e is d e t e r m i n e d by Black's possible m o v e 1 Qb2. S h i n k m a n always was interested in p a w n p r o m o t i o n play, especially w h e r e the p r o m o t i o n was to a piece o t h e r t h a n a queen, a n d the m i n i a t u r e No. 62 is an early a n d excellent example. I n t r o d u c e d b y a s u b t l e k e y , t h e c o n t i n u a t i o n i n N o . 6 3 following 1 P d 3 i l l u s t r a t e s Indian strategy, t h e s h u t - o f f of a w h i t e piece to avoid a stalemate position, n a m e d f r o m the famous problem by the Rev. Henry Augustus Loveday of B e n g a l , I n d i a , p u b l i s h e d a n o n y m o u s l y F e b r u a r y , 1845, i n t h e Chess Player's Chronicle. N o . 63 is e n r i c h e d by a s e c o n d v a r i a t i o n , l e a d i n g to a p i n - m a t e . Following a surprising key, the m a i n p l a y in p r o b l e m 64 ends in a model mate. In a secondary continuation, the q u e e n moves to each of the black corner squares to mate. 48

William A.

Shinkman

61 William A. Shinkman Dubuque Chess Journal December, 1870

William A. Shinkman Western Advertiser 1872

W h i t e mates in t w o m o v e s


63

64

William A. Shinkman Western Advertiser 1872

William A. Shinkman Deutsche Schachzeitung March, 1875



49

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S h i n k m a n ' s interest in self-mates, of which he b e c a m e one of t h e m o s t e m i n e n t e x p o n e n t s , b e g a n e a r l y i n his c o m p o s i n g c a r e e r . I n m a n y o f his s e l f - m a t e p r o b l e m s t h e w h i t e k i n g i s placed initially far f r o m a n y a p p a r e n t m a t i n g position; in p r o b l e m N o . 6 5 h e w a n d e r s t o w a r d his d o o m . N o . 66 is the f a m o u s S h i n k m a n - C a r p e n t e r coincidence. A p r o b l e m b y C a r p e n t e r w a s p u b l i s h e d i n t h e O c t o b e r 20, 1877, issue of t h e Detroit Free Press i d e n t i c a l in s e t t i n g w i t h N o . 66, except for an unnecessary black p a w n on e7 in C a r p e n t e r ' s p r o b l e m . Such coincidences, or anticipations, were not so comm o n o r n o t e d i n t h o s e d a y s a s t h e y h a v e b e e n l a t e r a n d s o this coincidental appearance attracted an unusual a m o u n t of attention. No. 66 actually h a d been composed two or three months p r e v i o u s l y , b e i n g o n e of a set of t h r e e p r o b l e m s e n t e r e d in a tourney. N o . 67 is a r e m a r k a b l e s t r a t e g i c c o n c e p t i o n , e s p e c i a l l y n o t e w o r t h y because of the small n u m b e r of m e n employed. It blends t w o m a n e u v e r s : one line is an e x a m p l e of T u r t o n d o u b l i n g a n d a second line of H e r l i n pericritical play. This m a y be c o m p a r e d w i t h M e r e d i t h ' s N o . 48, w h i c h w a s p u b l i s h e d t w e l v e y e a r s l a t e r . F o l l o w i n g t h e d e f e n s i v e m o v e s o f t h e b l a c k r o o k i n N o . 68, there are two pairs of echoed m o d e l mates in w h i c h the knights a l t e r n a t e i n t h e i r roles. A r a n d o m m o v e o f t h e b l a c k r o o k l e a d s to a fifth m o d e l m a t e . Alain W h i t e stated t h a t the original version of No. 69 was " t h e earliest e x a m p l e o f u n p i n n i n g three w h i t e pieces. F o r m a n y years the problem ranked as the champion all-round pin p r o b l e m . " S h i n k m a n l a t e r m a d e a slight r e v i s i o n , s h o w n i n t h e present d i a g r a m , p r o v i d i n g a m o r e striking key. In view of the m i n i m a l black force in the self-mate N o . 70 a n d the a p p a r e n t freedom of m o v e m e n t of the black queen, it is r e m a r k a b l e t h a t she c a n b e f o r c e d t o c h e c k m a t e t h e w h i t e k i n g in four moves. No. 71 was composed to show four different mates following t h e m o v e s o f a single b l a c k p a w n , t h r e e o f its m o v e s r e s u l t i n g i n self-blocks. S h i n k m a n w a s e s p e c i a l l y e x p e r t i n c o n s t r u c t i n g w a i t i n g - m o v e p o s i t i o n s w i t h e x c e l l e n t keys. A c c o r d i n g t o B l a c k ' s m o v e s i n N o . 7 2 W h i t e sets u p v a r i o u s b a t t e r i e s o n his t h i r d m o v e t o d i s c o v e r m a t e o n t h e f o u r t h m o v e . In t h e pairs of echoing continuations in p r o b l e m 73 Black

William A.

65

49

Shinkman

66

William A. Shinkman La Strategic August 15, 1877

William A. Shinkman First Prize Huddersfield College Magazine October, 1877



68 William A. Shinkman Detroit Free Press circa 1878

William A. Shinkman Huddersfield College Magazine



1880

14°

Chess Problem. Gems

self-blocks his k i n g i n t w o o f t h e m a t i n g p o s i t i o n s a n d t h e r e a r e p i n - m a t e s i n t h e o t h e r t w o . T h e m i n i a t u r e N o . 74, w i t h t h e t w o q u e e n sacrifices l e a d i n g t o c h a m e l e o n e c h o e d m o d e l m a t e s , w a s one of Shinkman's favorite compositions. No. 75 was the pioneer e x a m p l e of a self-mate in w h i c h a white p a w n p r o m o t e s to four d i f f e r e n t pieces a c c o r d i n g to Black's play. T h e spectacular key in the m i n i a t u r e No. 76 is followed by a subtle second move w h e n Black plays 1 Ph3 a n d two of the ensuing mates are models. On No. 77 Alain White c o m m e n t e d : " It is curious that, a l t h o u g h W h i t e can at the outset play 1 Qe6, he d a r e not make that move until the black p a w n has advanced." S h i n k m a n composed self-mates in various n u m b e r s of moves, i n c l u d i n g his a s t o u n d i n g o n e o f 4 1 8 m o v e s . N o . 7 8 i s a t y p i c a l e x a m p l e o f o n e o f his t w o - m o v e s e l f - m a t e s . T h e n e x t p o s i t i o n , N o . 79, i l l u s t r a t e s s t r a t e g i c m a n e u v e r i n g w i t h a m i n i m a l f o r c e . T h e k e y m o v e i n p r o b l e m 8 0 gives t h e b l a c k k i n g a f u l l r a n g e of eight flight squares, five m o r e t h a n in the initial position, a d e f i n i t e task a c h i e v e m e n t i n a m i n i a t u r e s e t t i n g . M a n y o f Shinkman's two-movers were waiting-move problems with s p a r k l i n g keys, o f w h i c h N o . 81, a n a d d e d m a t e b l o c k , i s t y p i c a l . N o . 82, w i t h its series o f e c h o e d s y m m e t r i c a l m a t e s , h a s a surprising a m o u n t of play for a p r o b l e m with only five m e n . W i t h a n o t h e r of the fine keys w h i c h S h i n k m a n w a s so a d r o i t in devising, p r o b l e m 83 has a variety of interesting play, the m a t e following 1 K e 4 being particularly notable. T h e pericritical m a n e u v e r in No. 84 is one that S h i n k m a n f e a t u r e d in s e v e r a l o f his p r o b l e m s . T h e k e y a n d t h e c o n t i n u a t i o n i n t h e m a i n p l a y are especially subtle. N o . 85, w h i c h S h i n k m a n c a l l e d " o n e o f m y f a v o r i t e p r o b l e m s , " i s a n o t h e r o f his s t u d i e s i n p a w n p r o m o t i o n t h e m e s . N o . 8 6 m a y b e c o m p a r e d w i t h N o . 80. I t i s a b l o c k - t h r e a t , a t y p e o f problem of which S h i n k m a n was a master in composing. In t h i s i n s t a n c e t h e k e y m o v e gives t h e b l a c k k i n g f i v e f l i g h t squares. No. 87 is a n o t h e r block-threat, with a surprising key u n p i n n i n g the black queen. I n t r o d u c e d w i t h a w a i t i n g - m o v e key, all t h e m a t e s i n N o . 8 8 a r e g i v e n b y a r o y a l b a t t e r y , t h e m o v e s o f t h e w h i t e k i n g disc o v e r i n g m a t e s f r o m t h e b i s h o p . A l a i n W h i t e i n The Golden Argosy c o m m e n t e d o n N o . 8 9 : " A n u n u s u a l a n d o r i g i n a l p a i r

William A.

69

49

Shinkman

70

William A. Shinkman V First Prize Southern Trade Gazette 1883

William A. Shinkman Chess Player's Chronicle October 10, 1883


W h i t e self-mates in f o u r moves

71 William A. Shinkman Detroit Free Press 1885


72 V

William A. Shinkman Columbia Chess Chronicle

1888


12

Chess Problem Gems

73

74

William A. Shinkman V Dubuque Chess Journal November, 1890

William A. Shinkman Dubuque Chess Journal November, 1890



75

76

William A. Shinkman Second Prize Sunny South 1890-1891

William A. Shinkman Deutsche Schachzeitung September, 1893



William

A.

Shinkman

49

77 William A. Shinkman Ceske Listy Sachove March, 1896

William A. Shinkman British Chess Magazine July, 1896


W h i t e self-mates in t w o moves

79

80

William A. Shinkman Tiffin Tribune circa 1898

William A. Shinkman Checkmate December, 1901



12

Chess Problem Gems

81 William A. Shinkman

82

Q, American Chess World April, 1902

William A. Shinkman V Wiener Schachzeitung October, 1905



83 William A. Shinkman St. Louis Globe Democrat 1903


84 William A. Shinkman Deutsche Schachzeitung February, 1907


William A.

Shinkman

85 William A. Shinkman Bauernumwandlungaufgaben 1907


87

William A. Shinkman American Chess Bulletin October, 1910


88

William A. Shinkman V Westen und Daheim 1910

William A. Shinkman Deutsches Wochenschach 1912



49

Chess Problem Gems

58 89

90

William A. Shinkman American Chess Bulletin December, 1913

William A. Shinkman Tasks and Echoes 1915



91

92

William A. Shinkman The Pittsburgh Gazette-Times November 19, 1916

William A. Shinkman and Otto Wurzburg First Prize — Class B Three-Move Section Densmore Memorial Tourney 1918-1920

W h i t e mates in two moves


William A.

Shinkman

59

of variations. T h e white p a w n adopts two separate routes to r e a c h t h e s a m e t w o s q u a r e s i n e a c h case. T h e p r o b l e m w a s d e d i c a t e d t o t h e m e m o r y o f S a m L o y d w h o d i e d A p r i l 10, 1 9 1 1 . " I n t r o d u c e d by a flight-yielding key, N o . 90 is p r a c t i c a l l y t w o t w o - m o v e problems, the m a t i n g positions in e a c h being c h a m e l e o n echoes of the m a t e s in the other, the bishops altern a t i n g t h e i r roles. A s p r e v i o u s l y m e n t i o n e d , L o y d p u b l i s h e d t h e first e x a m p l e of w h a t came to be known as the Plachutta interference: the m u t u a l interference of t w o b l a c k pieces of similar m o v e m e n t , one black rook moving along a file a n d the other along a rank, or the interference of a bishop a n d the queen moving on intersecting diagonals. W h i c h e v e r piece occupies the intersecting s q u a r e i n t e r f e r e s w i t h t h e m o v e m e n t o f its fellow. I n t h e o r i g i n a l type of Plachutta interference a white m a n first moves onto the i n t e r s e c t i n g (critical) s q u a r e , o b s t r u c t i n g t h e m o v e m e n t o f b o t h black pieces. E i t h e r m a y c a p t u r e the white m a n , b u t i t t h e n interferes with the other black piece. T h e Plachutta interference is e s s e n t i a l l y a t h r e e - m o v e m a n e u v e r . In No. 91 S h i n k m a n shows a Plachutta interference with only eight w h i t e a n d b l a c k pieces, a n o t h e r e x a m p l e of his outs t a n d i n g ability to illustrate a strategic t h e m e with a m i n i m u m n u m b e r o f m e n , for w h i c h h e b e c a m e r e n o w n e d a s " T h e Wizard of Grand Rapids." O t t o W u r z b u r g i n 1909 h a d s h o w n — i n t h e classic N o . 133 — t h a t the mutual interference could be brought about witho u t m o v i n g a white m a n o n t o the critical square a n d such an i n t e r f e r e n c e is t e r m e d a Wurzburg-Plachutta. A c c o r d i n g to Black's defenses t h e w h i t e king moves to eight d i f f e r e n t s q u a r e s i n t h e w a i t i n g - m o v e p r o b l e m N o . 92, a t a s k achievement. T h e excellent key is to provide a m a t i n g continuation following 1 — Q b 5 . If the bishop should move elsewhere Black w o u l d h a v e an effective defense by 1 — Q b 5 ; 2 K c 3 , Q b l ! T h e solver s h o u l d n o t o v e r l o o k t h e c o n t i n u a t i o n f o l l o w ing 1 - - Q e l .

60°

14° Chess Problem. Gems S O L U T I O N S

N o . 61 1 Bc3 waiting K x S ; 2 Pb4 P x R ; 2 Pe4

N o . 62 1 Pe8(R), K x P ; 2 Pa8(S), K b 5 ; 3 R e 5 Kc5; 2 Pa8(Q), Kd6; 3 Q c 5

N o . 63 1 R b l , Pd3; 2 Bal, Pe5; 3 Rb2, K d 4 ; 4 R b 4 Pe5; 2 Bd8, P d 3 ; 3 Bb6, K d 4 ; 4 R b 4 N o . 64 1 Q d 4 , PxQ; 2 Rf7, any; 3 Rc7 K b 7 ; 2 R f 7 ck, K a 6 ; 3 Q a l Ka8; 3 Q h 8 K d 7 ; 2 Q g 4 ck, K d 8 ; 3 R f 8 K else; 3 Q c 8 N o . 65 1 Q g 7 , R x P ; 2 K e 5 dis ck, K a n y ; 3 K d 6 dis ck, R x Q B x P ; 2 K f 6 dis ck, K a n y ; 3 K e 7 dis ck, Be5 N o . 66

N o . 67

1 B a 4 waiting P d 6 ; 2 Sb5-c7

1 Ba2 threat 2 Q b 3 , a n y ; 3 Q g 8 Bf8; 2 Bbl, any; 3 Qh7(x)

N o . 68 1 Pe3, R x P ; 2 Q b l ck, K e 2 ; 3 S d 4 R d 2 ; 2 Q f 5 ck, K e 2 ; 3 Sc3 R d 4 ; 2 SxR, any; 3 Q b l Rc3; 2 SxR, any; 3 Q f 5 R else; 2 Q x P ck, R d 3 ; 3 Q x R K e 2 ; 2 Q h 5 ck, K f l ; 3 Q f 3 P h 3 ; 2 Sg3 ck, K f 2 ; 3 Q f 5 N o . 69 1 Ba7 waiting Pd5; 2 Sf3-d4 B d 2 ; 2 Se2-d4

1

B f 2 ; 2 SxPc3 Bg3; 2 Q c 4

N o . 70 1 Bh3, Q a 8 , e8; 2 Q d 4 ck, Q e 4 ; 3 Q f 6 ck, Q f 5 ; 4 Q g 5 ck,

QxQ

Q e l s e ; 2 Q b 4 , c 4 , d 4 ck, Q x Q ; 3 Pg3 ck, K f 3 dis ck; 4 Bg4 ck, Q x B

William A. N o . 71 1 Q h l waiting PxPc6; 2 Q h 5 P d 6 ; 2 Bf2

1

59

Shinkman

Pd5; 2 Q c l P x P e 6 ; 2 SxP

N o . 72 1 R x P , S x R ; 2 BxS, K a 5 ; 3 R d 4 , K b 6 ; 4 R x P Pa5; 3 Re3, Kc5; 4 R b 3 Sg3; 2 R x S , K a 5 ; 3 R f 4 , K b 4 ; 4 Bb6 P a 5 ; 3 Be3, K a n y ; 4 Bc5 K a 5 ; 2 Rc2, S a n y ; 3 R c 5 ck, K b 6 ; 4 R c 5 - b 5 K b 4 ; 4 Sc2 No. 73 1 Q h 6 , Ke2; 2 RxP, K d 2 ; Pd2; Ph2; P h 2 ; 2 Q x P h 2 ck,

3 Rf2 1 3 Qa6 3 QxP Pe2; 3 Q x P f 4

Pf3; 2 Qa6, Ke2; 3 Rc2 Pe2; 3 Q h 6 else; 3 Q a 2

N o . 74 1 Be2, K b 7 ; 2 Q c 8 ck, K x Q ; 3 Ba6 Kb6; 3 Qc7 K b 6 ; 2 Q a 5 ck, K x Q ; 3 Bc7 Kb7; 3 Qa6 N o . 75 1 R h 8 threat 2 PxS(B) ck, K x S ; 3 Q b 7 ck, B x Q Sc6; 2 Pe8(S) ck, K x S ; 3 Q x S ck, B x Q K x S ; 2 P x S ( R ) ck, K c 7 ; 3 Q b 7 ck, B x Q P x Q ; 2 P x S ( Q ) ck, K c 6 ; 3 SxP ck, Q x S S x P ; 2 Be5 ck, K x S ; 3 Q b 7 ck, B x Q B f l ; 2 Q x S ck, K c 6 ; 3 S x P ck, Q x S N o . 76 1 B h l , P h 3 ; 2 Bg2, P x B ; 3 S f 3 ck, K f l ; 4 Sh2 K h l ; 4 Sf2 P h 2 ; 2 Se5, P h i ; 4 Se5-f3 KxB; 2 K f 2 , Ph3; 3 K f l , Ph2; 4 Sf2 N o . 77 1 Q c 4 , P h 3 ; 2 Q e 6 , Bg3; 3 Q x P ck, S x Q ; Bel; 3 QxB, S any; 4 Bh4; 3 KxB, S any; 4 B e l , g 3 ; 2 Q x P ck, B x Q ; 3 KxB, S

4 Sf3 Sf3(x) Sf3(x) a n y ; 4 Sf3(x)

14°

Chess Problem. Gems

N o . 78 1 Q c 5 , PxQ,; 2 Bg5, P c 4 or Bg8 P g 5 ; 2 Q c 2 ck, B x Q Bg8 ck; 2 Q d 5 ck, B x Q N o . 79 1 Rgl, Kh6; 2 Kf5, Kh5; 3 R h l Ph6; 2 Rg2, K h 4 ; 3 R h 2 N o . 80

N o . 81

1 R c 2 , P g l ( Q ) ; 2 Q x Q ck etc. else; 2 R x P etc.

1 Q a 3 waiting

N o . 82 1 Bel, KxB; 2 Ke3, K d l ; 3 Rc8, K e l ; 4 R c l K f l ; 2 Rg8, K e l ; 4 R g l K d l ; 2 Kd3, K e l ; 3 Rb8, K d l ; 4 R b l KxB; 3 Rf8, K d l ; 4 R f l K f l ; 2 Kf3, K g l ; 3 Rh8, K f l : 4 R h l K x B ; 3 R d 8 , K f 1; 4 R d l N o . 83 1 Sg2 threat 2 Sel PxS; 2 Q h 7 K e 4 ; 2 Sd5-e3

1 - - SxB; 2 S d 5 - f 4 S else; 2 Sg2-f4 R x B ; 2 Sb4

N o . 84 1 Rb7, Ph6; 2 Qa2, Ph5; 3 Q a 8 , K x P ; 4 Rb7-b2 Ph5; 2 R b l - b 2 , S x Q ; 3 RxS, K g l ; 4 R b l S else; 3 PxS, P x P , 4 R b l N o . 85 1 K c 3 , K e 7 ; 2 P d 8 ( S ) , K x S ; 3 P f 8 ( Q ) , K c 8 ; 4 Bc6 K f 8 ; 3 Se5 ck, K e 7 ; 4 P f 8 ( Q ) K d 6 ; 3 P f 8 ( Q ) ck, K x P ; 4 Bc6 N o . 86 1 Pg7 threat 2 Pg8 ( Q )

N o . 87 1 Q c l threat 2 K a 4

N o . 88 1 P f 5 waiting Kc6; 2 Qe7, Kd5; 3 Ke3 Ke5; 2 Qb6, Kd5; 3 Kf4 K d 6 ; 2 Ke4, K c 6 ; 3 Ke5

William A.

Shinkman

59

N o . 89 1 Q e 4 , R x Q ; 2 P d 7 threat Re8; PxQ,; 2 P x R threat Rd8;

3 3 3 3

P d 8 (S) PxR(Q) Pe8(Q) PxR(S)

N o . 90 1 B e l , K x P ; 2 Be3, K d 5 ; 3 Bc6 K f 5 ; 3 Bg6 K c 5 ; 2 Bc6, K b 4 ; 3 Ba3 K d 4 ; 3 Be3 N o . 91 1 Sd7-c5 threats 2 S a 4 or Q b 4 R c 8 x S ; 2 Sb2 threat 3 Ra5; 3 R h 5 x S ; 2 S f 4 threat 3 Rc4; 3

Sa4 Qc4 Se2 Sd5

N o . 92 1 Bc6 waiting Q c 3 , e5 ck; 2 K x Q Q c 5 , d5 ck; 2 K x Q dis ck Q b 4 , b6 ck; 2 K d 5 dis ck Q d 2 , d 8 ck; 2 K c 5 dis ck S a n y ; 2 K e 3 ( x ) dis ck

1

Bd3, c 4 ; 2 K x B dis ck P f 4 ; 2 K e 4 dis ck Qb5; 2 BxQ Q e l ; 2 Q h 6 ck

D. J. Densmore

DARSO JAMES DENSMORE ( 1 8 6 7 - 1 9 1 7 ) , s o n i n - l a w of S a m L o y d , l e a r n e d t o p l a y chess i n his b o y h o o d d a y s a n d b e c a m e c h a m p i o n o f t h e B r o o k l y n C h e s s C l u b i n his t e e n s . L a t e r h e b e c a m e i n t e r e s t e d i n p r o b l e m c o m p o s i t i o n , his e f f o r t s b e i n g d i v i d e d i n t o two short periods. P r i o r t o 1890 h e c o m p o s e d s o m e s e v e n t y - f i v e p r o b l e m s . T h e n a f t e r a long period of inactivity in the p r o b l e m field he r e s u m e d c o m p o s i t i o n i n 1914 a n d c o m p o s e d n e a r l y t w o h u n d r e d fifty m o r e problems d u r i n g the following three years. W h i l e he was interested in studies of various strategic themes, his m o s t n o t a b l e w o r k i n his s e c o n d p e r i o d o f a c t i v i t y w a s i n t h e i l l u s t r a t i o n o f b l a c k i n t e r f e r e n c e s , i n c l u d i n g a r e m a r k a b l e series of Plachuttas. W i t h an excellent key, N o . 93 is a n e a t e x a m p l e of a pericritical m a n e u v e r w h e r e a rook makes a r o u n d a b o u t j o u r n e y to support the queen. T h e long withdrawal keymove a n d subs e q u e n t p a w n p r o m o t i o n to a rook to avoid t h e possibility of a stalemate position, actually a n I n d i a n - t y p e m a n e u v e r , m a k e N o . 94 a definitely t h e m a t i c composition. Black's defensive moves in N o . 95 d o u b l e a W u r z b u r g P l a c h u t t a — o n e in w h i c h there is no white m a n on the critical s q u a r e — t h e black q u e e n functioning here as a third black rook. Again in problem 96 Densmore employs a r e m a r k a b l e keymove, followed by quiet second moves, w h e r e Black's moves i n c l u d e a c o m p l e t e black k n i g h t wheel. Despite t h a t t h e keym o v e threatens a short mate, No. 97 is an ingenious composit i o n : a c h a m e l e o n d o u b l i n g of a d i a g o n a l P l a c h u t t a , t h e queen and each bishop in turn making m u t u a l interferences in the thematic defensive play. Problem 98 m a y be described as a three-phrase N o w o t n y interference between the black rook a n d bishop, d e p e n d i n g u p o n their relation to the critical square d5, o n t o w h i c h the 64

D. J. Densmore

93

65

94

Darso J. Densmore First Prize Brooklyn Chess Club Tourney 1913-1914

Darso J. Densmore British Chess Magazine September, 1915



95

96

Darso J. Densmore V Third Prize The Pittsburgh Gazette-Times March 19, 1916

Darso J. Densmore Honorable Mention The Pittsburgh Gazette- Times March 26, 1916



12

Chess Problem Gems

98

97 Darso J. Densmore The Pittsburgh Gazette- Times December 31, 1916

V


99 V

Darso J. Densmore Fourth Prize Seventh Quarterly Tourney The Pittsburgh Gazette- Times October 25, 1916


100 Darso J. Densmore The Pittsburgh Gazette- Times December 3, 1916


The

Darso J. Densmore Pittsburgh Gazette- Times December 3, 1916

W h i t e mates in f o u r m o v e s

67

D. J. Densmore

101 Darso J. Densmore The Pittsburgh Gazette-Times December 13, 1916

W h i t e mates in f o u r m o v e s

103 Darso J. Densmore Honorable Mention The Pittsburgh Gazette-Times June 10, 1917

W h i t e mates in t h r e e moves

102 The

Darso J. Densmore Pittsburgh Gazette-Times April 1, 1917


104 The

Darso J. Densmore Pittsburgh Gazette-Times June 17, 1917


14°

Chess Problem. Gems

w h i t e bishop moves in e a c h of t h e three t h e m a t i c lines of play. I n N o . 9 9 a n o t h e r b i s h o p w i t h d r a w a l m o v e , i n t h i s case threatening a short m a t e , leads to Plachutta interferences on two different squares, d3 a n d f3. A g a i n D e n s m o r e employs a long w i t h d r a w a l m o v e by a b i s h o p as a k e y in N o . 100, w h e r e t h e r e is a d o u b l i n g of a d i a g o n a l P l a c h u t t a i n t e r f e r e n c e w h e n Black m o v e s t h e bishop to f7 or to g6 to defeat the threatened short m a t e — e 6 a n d f5 t h e n becoming the critical squares where the black q u e e n a n d bishop mutually interfere. I n N o . 101, a c c o r d i n g t o B l a c k ' s p l a y t o p r e v e n t t h e s h o r t t h r e a t of 2 R c 2 m a t e , W h i t e moves a piece to o n e of five d i f f e r e n t s q u a r e s o n t h e e-file, w h i c h t h e n b e c o m e c r i t i c a l s q u a r e s i n a P l a c h u t t a i n t e r f e r e n c e , m a k i n g t h e c o m p o s i t i o n a five-fold Plachutta. A s q u a r e - v a c a t i n g k e y i n N o . 102 l e a d s t o t w o c r o s s - c h e c k i n g v a r i a t i o n s . T h e k e y m o v e i n p r o b l e m 103 p e r m i t s B l a c k t o g i v e c o n s e c u t i v e d o u b l e - c h e c k s o n t h e first a n d s e c o n d m o v e s i n t h e m a j o r d e f e n s i v e lines o f p l a y , besides c h e c k s i n o t h e r v a r i a t i o n s . I n N o . 104, a t a s k c o m p o s i t i o n , B l a c k i n d e f e n d i n g a g a i n s t t h e t h r e a t o f m a t e b y 2 Q e l self-blocks his k i n g i n f i v e d i f f e r e n t ways. S O L U T I O N S N o . 93 1 R a l , Pg5; 2 Ra4, B any; 3 Q x P Pg2; 3 Q e l Pg2; 2 Q f 4 , P g 5 ; 3 Q h 2

1 K g 5 ; 2 S f 3 ck, 2 - -Kf5; 3 Qf4 2 - - K f 6 , h6; 3 Q f 8

N o . 94 1 Ba8, R x S ; 2 P e 8 ( R ) , R h 6 ; 3 R b 8 , R b 6 ; 4 R x R , P g l ( Q , ) ; 5 Rbl RxPh7; 3 Rb8, R b 7 ; 4 R x R , Pgl(Q,); 5 Rbl RxPg5; 3 Rd8, Rd5; 4 R x R , Pgl(Q.); 5Rdl Rh4; 3 Rd8, Rd4; 4 RxR, K g l ; 5 R d l R e 3 ; 2 P h 8 ( Q . ) , K g l ; 3 BxR ck, K f l ; 4 Sg3 ck, K e l ; 5 Qal R c 3 ; 2 P h 8 ( Q J , R x P c k ; 3 K b 3 , R b 2 ck; 4 Q x R , P x Q ; 5Sg3

D. J.

Densmore

N o . 95 1 B b 3 threat 2 S x R ck, S x S ; 3 Q e 6 R f 8 - f 6 ; 2 Sc6 ck, R x S c 6 ; 3 Q f 4 R g 6 - f 6 ; 2 S f 3 ck, R x S ; 3 Q e 6 Q d 6 ; 2 Sc6 ck, Q x S ; 3 Q d 4 R d 6 ; 2 Q d 4 ck, R x Q ; 3 Sc6 N o . 96 1 K e l , SxB; 2 Q f 7 , S d 5 ; 3 Q f l else; 3 Q x P Sb4; 2 Kd2, Sd5; 3 Pb3 else; 3 Q x P S x P b 6 ; 2 Q x P ck, S d 5 ; 3 Q a 6 S c 3 ; 2 P b 3 ck, K d 5 ; 3 Q x P Sc7; 2 PxS, K d 5 ; 3 Q x P S x P e 3 ; 2 Q x P ck, S d 5 ; 3 Q e 2 Se7; 2 BxS, K d 5 ; 3 Q x P S f 4 ; 2 PxS, K d 5 ; 3 Q x P Pe5; 2 Rd8, P a n y ; 3 Q x S N o . 97 1 R c 7 threat 2 R f 7 Q a 2 ; 2 Sd5, Q x S ; 3 P e 4 ck, Q x P e 4 ; 4 R f 7 B x S ; 3 R f 7 ck, B x R ; 4 P e 4 P b l ( Q ) ; 2 P d 4 , Q x P ; 3 Se3 ck, Q x S ; 4 R f 7 B x P d 4 ; 3 R f 7 ck, B f 6 ; 4 S e 3 N o . 98 1 B f 7 threat 2 Bd5, R x B ; 3 Sc6 BxB; 3 Sd7 R d 6 ; 2 Bd5, R x B ; 3 Sc6 BxB; 3 Sd3 B b 7 ; 2 Bd5, R x B ; 3 S f 3 B x B ; 3 Sd7 R d 4 ; 2 Q g 5 ck, K e 4 ; 3 Bg6 Be4; 2 Q g 7 ck, K a n y ; 3 Q g 5 N o . 99 1 B h 6 threat 2 B f 8 R f 2 ; 2 S f 3 , R f 2 x S ; 3 R x P ck, R x R ; 4 B f 8 R h 3 x S ; 3 B f 8 ck, R x B ; 4 R x P R d 2 ; 2 S d 3 , R d 2 x S ; 3 R x P ck, R x R ; 4 B f 8 R h 3 x S ; 3 B f 8 ck, R d 6 ; 4 R x P R g 8 ; 2 R d l , R x B ; 3 S d 3 etc. R g 6 ; 2 S x R etc.

69

14°

Chess Problem. Gems

N o . 100 1 Ba8 threat 2 P d 4 B f 7 ; 2 Pe6, Q x P e 6 ; 3 P d 4 dis ck, B x P ; 3 R x P ck, B x R ; Bg6; 2 P f 5 , Q x P f 5 ; 3 P d 4 dis ck, B x P ; 3 R x P ck, B x R ;

QxR; 4 RxP 4 Pd4 Qd3; 4 RxP 4 Pd4

N o . 101 1 R a 2 threat 2 R c 2 R f 2 ; 2 Be2, R e l x B ; 3 R c 2 ck, R x R ; 4 R e 8 R f 2 x B ; 3 R e 8 ck, R x R ; 4 R c 2 Q f l ; 2 Be2, R e l x B ; 3 R c 2 ck, R x R ; 4 R e 8 Q x B ; 3 R e 8 ck, Q x R e 8 ; 4 R c 2 Q g l , h 3 ; 2 Se3, R x S ; 3 R c 2 ck, R c 3 ; 4 R e 8 Q x R ; 3 R e 8 ck, Q x R ; 4 R c 2 Q h 7 ; 2 Se4, R x S ; 3 R c 2 ck, R c 4 ; 4 R e 8 Q x S ; 3 R e 8 ck, Q x R ; 4 R c 2 R f 4 or S f 4 ; 2 Se4 etc. R f 5 ; 2 Se5, R e l x S ; 3 R c 2 ck, R c 5 ; 4 R e 8 R f 5 x S ; 3 R e 8 ck, R x R ; 4 R c 2 P d 5 ; 2 Se6, R e l x S ; 3 R c 2 ck, R c 6 ; 4 R e 8 R f 6 x S ; 3 R e 8 ck, R x R ; 4 R c 2 N o . 102 1 K g 4 threat 2 Sg5 dis ck, P x R ; 3 S f 3 P x R ; 2 Q e 5 , Q g 8 c k ; 3 Sg6 Ph5 ck; 3 SxP RxP; 3 SxR R g l a n y ; 3 Se2 Q g 8 ; 2 Q e 5 , P x P dis c k ; 3 Sg5

N o . 103 1 Bd6 threat 2 Sc5 BxS dbl c k ; 2 KxB, R x B d b l ck; 3 K x R R x P d b l ck; 3 K x R S b 3 ; 3 PxS S c 3 , d 4 ; 3 Sc3(x) else; 3 K d 8 Bb7 dbl c k ; 2 K b 8 , a n y ; 3 Sc5 Bb5 dis ck; 2 Sc5 ck, K b 4 ; 3 Q x B R e 6 a n y ; 2 R x Q ck, a n y ; 3 Sc5

D. J. Densmore N o . 104 1 Q c l threat 2 Q e l Bd3; 2 Re2 Be4 ck; 2 S d 5 Sd3; 2 Re2 S f 3 ; 2 Sc2 P f 3 ; 2 Se2 Bf2; 2 R d l

77

Henry Wald Bettmann

HENRY WALD BETTMANN ( 1 8 6 8 - 1 9 3 5 ) , w i t h his b r o t h e r E d g a r B e t t m a n ( 1 8 6 6 - 1 9 4 5 ) a n d his c o u s i n J a c o b B e t t m a n n ( 1 8 6 5 1935), b e g a n c o m p o s i n g p r o b l e m s w h e n in their teens, w o r k i n g t o g e t h e r , a n d i t i s n o t p o s s i b l e t o tell w h a t p a r t e a c h p l a y e d i n their collaborative efforts. In later years only H e n r y c o n t i n u e d to compose. He became a prominent physician a n d surgeon in C i n c i n n a t i a n d his p r o f e s s i o n a l a c t i v i t i e s l i m i t e d his p r o b lemistic work. He was especially interested in task compositions in w h i c h some particular feature is presented in m a x i m u m or manifold r e p e t i t i o n s , like t h e f o u r d i s c o v e r e d m a t e s b y a p a w n , d o u b l e d in p r o b l e m 113; the q u a d r u p l e d echo of a m a t i n g position in N o . 116; the multiple u n p i n n i n g s of the white q u e e n in Nos. 122 a n d 1 2 3 ; a n d t h e m u l t i p l e p a w n p r o m o t i o n s i n p r o b l e m s 114, 115, 127 a n d 128. O t h e r American problemists have been interested in certain t y p e o f tasks, b u t c o n s i d e r i n g t h e v a r i e t y o f t h e t a s k s o f w h i c h D r . B e t t m a n n c o m p o s e d n o t a b l e illustrations, h e m a y well be regarded as the most outstanding A m e r i c a n task composer. At o n e time it was n o t t h o u g h t possible to c o n s t r u c t a t w o m o v e r in which if the white king was submitted to a d o u b l e check the mating move would not require the capture of one o f t h e c h e c k i n g p i e c e s . B u t t h e B e t t m a n n b o y s i n N o . 105 s h o w e d t h a t a capture was not necessary. In the sparkling m u t a t e N o . 106 t h e s u b t l e k e y c h a n g e s t h r e e set m a t e s f r o m c o m m o n p l a c e to m u c h m o r e attractive ones. P r o b l e m 107 i s a s t u d y i n p a w n p l a y , i n w h i c h t h e p a w n k e y m o v e sets u p a w a i t i n g p o s i t i o n . T h e n i n e a c h o f t h e t w o e n s u i n g t h e m a t i c lines a c a p t u r e b y a b l a c k p a w n i s c o u n t e r e d b y a c a p t u r e b y a w h i t e p a w n t h a t o p e n s lines f o r t w o w h i t e p i e c e s , so as to discover m a t e f r o m one piece a n d simultaneously g u a r d 72

Henry

105

Wald Bettmann 106

Edgar, Henry Wald and Jacob Bettmann Quebec Chronicle

1882

Edgar and Henry Wald Bettmann South Australian Chronicle 1883



107

108

Edgar, Henry Wald and Jacob Bettman First Prize Southern Trade Gazette 1884

Edgar, Henry Wald and Jacob Bettmann St. John Globe 1885



73

14°

Chess Problem. Gems

t h e k n i g h t b y a n o t h e r p i e c e . T h u s all t h e m o v e s i n t h e t h e m a t i c play are m a d e by pawns. T h e w a i t i n g - m o v e k e y i n N o . 108 sets u p a p o s i t i o n t o m e e t the threatened check, 1 Q e 7 ck, a n d a n y o t h e r m o v e s b y the black queen, 1 Q h 8 ; 2 Kf4 being the most interesting continuation. N o . 109, a n i n c o m p l e t e b l o c k , n o m a t e b e i n g p r o v i d e d i n t h e initial position for 1 Pf 3 or 1 P x P , is t y p i c a l of t h e style of the Bettmanns' two-movers, the white king moving to where he m a y be checked in three ways, but allowing the bishop's p a w n to m o v e to three different squares to discover m a t e according to Black's defensive moves. T h e mates following 1 Sb5 and 1 S f 5 should not be overlooked a n d there are no duals. F r o m t h e i n i t i a l p o s i t i o n o f t h e w h i t e k i n g i n N o . 110 a n d t h e i m m o b i l i t y o f all b u t o n e o f t h e b l a c k m e n i t w o u l d s e e m i n c r e d i b l e , a t first g l a n c e , t o b e l i e v e t h a t B l a c k c a n b e f o r c e d t o m a t e W h i t e in three moves! T h e keymove is a spectacular one a n d the continuations are subtle. T h e B e t t m a n n boys r e g a r d e d a well-disguised key of p r i m e i m p o r t a n c e a n d a g a i n i n N o . I l l the key a n d ensuing t h r e a t a r e o f a n o r i g i n a l n a t u r e . T h e solver s h o u l d n o t e h o w t h e b l a c k bishop's interference on the q u e e n leads to two distinct mates, a c c o r d i n g t o w h e t h e r t h e b i s h o p m o v e s t o e 3 o r t o e5. T h e n t h e m a t e following the flight-opening a n d self-blocking defense 1 R d 6 should be noted. Another waiting-move problem by the Bettmann brothers, N o . 112, shows m u t u a l i n t e r f e r e n c e s b e t w e e n a b l a c k r o o k a n d t w o bishops, c o m b i n e d w i t h a white royal b a t t e r y . T h e t h e m e of four lateral mates by discovery by the moves of a white p a w n i s d o u b l e d i n p r o b l e m 113. I n t h e m a i n p l a y o f p r o b l e m 114 t h e r e a r e t h r e e successive p r o m o t i o n s of a p a w n to a r o o k a n d also a s e c o n d p r o m o t i o n of a p a w n to a r o o k a f t e r 1 Sd5 ck; 2 PxS, K d 7 . D r . B e t t m a n n t o o k a n e s p e c i a l i n t e r e s t i n p a w n p r o m o t i o n t h e m e s a n d N o . 115 f e a t u r e s p r o m o t i o n s t o d i f f e r e n t w h i t e pieces f o l l o w i n g d i f f e r e n t promotions of a black p a w n . This problem m a y be regarded as a f o r e r u n n e r to his Babsontask p r i z e w i n n e r N o . 128. N o . 116 h a s a q u a d r u p l e d e c h o o f a m a t i n g p o s i t i o n , b r o u g h t a b o u t by the self-blocking moves of the d e f e n d i n g black bishop. I n t r o d u c e d b y a n e x c e l l e n t key, t h e r e a r e N o w o t n y i n t e r -

Henry

109

Wald Bettmann

75

110

Edgar and Henry Wald Bettmann Second Prize La Strategic

Edgar and Henry Wald Bettmann Jamaica Gleaner 1887

1886


111


112

Edgar and Henry Wald Bettmann Second Prize Nashville American 1887

Edgar and Henry Wald Bettmann First Prize St. John Globe 1888



12

Chess Problem Gems

113

114

Henry Wald Bettmann 1910

Henry Wald Bettmann More White Rooks 1911



115 Henry Wald Bettmann The Theory of Pawn Promotion 1912


116 Henry Wald Bettmann The Pittsburgh Gazette-Times September 22, 1912


Henry

Wald Bettmann

117

118

Henry Wald Bettmann Schachblatter June 7, 1914

Henry Wald Bettmann Tasks and Echoes 1915



119

120

Henry Wald Bettmann The Pittsburgh Gazette- Times 1916

Henry Wald Bettmann First Prize Good Companions February 22, 1918

W h i t e mates in two moves


77

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Chess Problem. Gems

f e r e n c e s o n five d i f f e r e n t s q u a r e s i n t h e e c o n o m i c a l l y c o n s t r u c t e d N o . 117. P r o b l e m 118 i s p r o b a b l y t h e first p u b l i s h e d e x a m p l e of the doubling of a W u r z b u r g - P l a c h u t t a interference. C o m p a r e t h i s c o m p o s i t i o n w i t h W u r z b u r g ' s N o . 133. I n N o . 119 B l a c k ' s c a p t u r e o f t h e k n i g h t b y t h e p a w n l e a d s to four distinct continuations, d e p e n d i n g on w h i c h one of four d i f f e r e n t pieces B l a c k elects t o p r o m o t e t h e p a w n t o . I n t w o o f t h e c o n t i n u a t i o n s t h e r e a r e also p a w n p r o m o t i o n s b y W h i t e . P r o b l e m 120 h a s a n o v e l k e y , c h a n g i n g t h e m a t e a f t e r 1 RxS c k a n d p e r m i t t i n g the p a w n t o discover a n o t h e r m a t e w h e n Black plays 1 R x P . T h e r e are two pairs of symmetrically e c h o e d m a t e s i n N o . 121, o n e p a i r b e i n g m o d e l m a t e s . A f t e r t h e s e l f - p i n n i n g k e y i n p r o b l e m 122, s e t t i n g u p a b l o c k p o s i t i o n , five o f B l a c k ' s m o v e s a r e w i t h d r a w a l u n p i n s o f t h e white q u e e n , while a sixth m o v e is an interference u n p i n . A g a i n i n N o . 123 a f t e r a t h e m a t i c s e l f - p i n n i n g k e y m o v e , t h e r e a r e s e v e n withdrawal unpins of the white queen permitting her to mate. I n N o . 124 t h e r e a r e s q u a r e o b s t r u c t i o n s o n a b l a c k k n i g h t w h e n the black bishop moves to d2, f2 or g5 a n d interferences by a knight on the bishop w h e n the bishop moves b e y o n d these squares—an unusual theme, in which the thematic play is tripled. T h e short t h r e a t is a m i n o r demerit. N o . 125 is a b e a u t i f u l e x a m p l e of a b l o c k - t h r e a t p r o b l e m , w i t h a fine key a n d m a t i n g threat. N o t e the c h a n g e d m a t e after 1 Q.f'5 c k a n d also t h e t r y 1 Q f 4 d e f e a t e d b y 1 QxR. T h e s t r i k i n g k e y m o v e i n N o . 126 o b s t r u c t s t h e w h i t e b i s h o p a n d gives t h e b l a c k k i n g a f l i g h t , f o l l o w e d b y a s u r p r i s i n g m a t e i f t h e k i n g m o v e s t o e5. T h e n t h e solver s h o u l d n o t miss t h e m a t e after Black's self-blocking m o v e 1 R e 5 to defeat the threat 2 Sf6. A c c o r d i n g t o B l a c k ' s p l a y i n p r o b l e m 127 t h e r e a r e six different promotions of the white pawn, which promotes to a q u e e n three times on b8, c8 or d8, or to a k n i g h t on the same s q u a r e s . W i t h a t o t a l o f o n l y e l e v e n w h i t e a n d b l a c k m e n this c o m p o s i t i o n is t r u l y a m a s t e r p i e c e . N o . 128 i s t h e f a m o u s Babsontask first p r i z e w i n n e r i n w h i c h , f o l l o w i n g W h i t e ' s p a w n p r o m o t i o n key, t h e p r o m o t i o n o f t h e black p a w n by 1 P x B to a n y one of f o u r d i f f e r e n t pieces is countered by the p r o m o t i o n of White's king's bishop's p a w n to a similar piece.

Henry

Wald Bettmann

121

122

Henry Wald Bettmann Densmore Memorial Tourney 1918-1920

Henry Wald Bettmann V Good Companions November, 1919



123

124

Henry Wald Bettmann Good Companions November, 1919

Henry Wald Bettmann Second Prize, Class B Densmore Memorial Tourney 1918-1920


White mates in three moves

79

58

Chess Problem Gems

125

126

Henry Wald Bettmann V Good Companions April, 1921

Henry Wald Bettmann Second Prize Good Companions May, 1921



127

128

Henry Wald Bettmann Good Companions January, 1923

Henry Wald Bettmann First Prize Babson Task Contest 1925-1926


White self-mates in three moves

Henry

Wald Bettmann

81

S O L U T I O N S N o . 105 1 Q h 5 , SxS d b l c k ; 2 K c 3 N o . 106 1 Q e l waiting Ke4; 2 Q h l Pe4; 2 Q x P P d 3 ; 2 Pd4 S a n y ; 2 SxB B a n y ; 2 BxP

N o . 107 1 PxPe4 waiting PxPe4; 2 PxP P x P d 4 ; 2 PxP KxS; 2 Rf3 PxR; 2 Q h 3 N o . 108 1 Bh4 waiting Q e 7 ck; 2 Re6 Q g 5 ck; 2 R f 5 Q g 3 c k ; 2 R f 4 dis ck Qh8; 2 Kf4

N o . 109 1 K d 2 waiting P b 3 dis c k ; 2 P c 3 B x Q ; 2 Pc4 B b 3 ; 2 PxB B x P ; 2 BxB Sc4 c k ; 2 Q x S S b 5 ; 2 Pd6 S f 5 ; 2 Sg5 P x P ck; 2 R x P e 3

No. I l l 1 Re2-c2 threat 2 R d 3 Be3; 2 K e 2 Be5; 2 K e 3 Sf2; 2 KxS P g 4 ; ck K x B Sf5; 2 Kg4 R d 6 ; 2 Se7

N o . 110 1 S h i , Bb6, c5; 2 S b 3 ck, K d 3 ; 3 S f 2 ck, BxS B b 8 ; 2 Q f 6 ck, B e 5 ; 3 Pg6, B x Q N o . 112 1 S a 3 waiting R d 2 ; 2 Bb2 Re2; 2 Rd3 Rf2; 2 KxPg3 Rg2; 2 KxPh3 B e 2 ; 2 SxS Bd2, f 2 ; 2 SxS Bel else; 2 K x P g 3

N o . 113 1 R h 2 threat 2 P g 3 or g4 S h 3 ; 2 PxS R a n y ; 2 Pg3 B h 5 ; 2 Pg4 S f 3 ; 2 PxS QxP; 2 PxQ Q f 5 ; 2 Pc3 P x P ; 2 Pc4 Q b 3 ck; 2 P x Q

14°

Chess Problem. Gems

N o . 114 1 Pc8(R), SxR; 2 PxS(R), K d 7 ; 3 Pf8(R), K d 6 ; 4 Rf8-d8 Sd5 ck; 2 PxS, K d 7 ; 3 P f 8 ( R ) , K d 6 ; 4 R f 8 - d 8 K x P ; 3 Pb8(Q,), K a n y ; 4 Q e 5 N o . 115 1 PxP, Pa 1(Q,); 2 P b 8 ( Q , ) , a n y ; 3 Bd7 P a l ( S ) ; 2 K c 4 , a n y ; 3 Pb8(S) Pal(B); 2 Pb8(R), Kd6; 3 Rb6 K b 5 , b 6 ; 2 P b 8 ( Q , ) ck N o . 116 1 Q b 3 , Be3; 2 Q c 3 threat 3 Q x P e 5 Bd4; 3 Q f 3 Bf4; 3 Q d 3 K f 5 ; 2 Q,g3 threat 3 Q x P Bf6; 3 Q g 4 Bf4; 3 Q g 6 N o . 117 1 Sb6 threat 2 Bg3 ck, K a 7 ; 3 Sc8 R c l or R c 2 ; 2 Bc6 R d l , R d 2 or R a 5 ; 2 Bd5 R e l , R e 2 or R a 4 ; 2 Be4 R f l or R f 2 ; 2 B f 3 Rgl;2Bg2 N o . 118 1 S d 8 threat 2 P x R dis ck R c 4 - c 5 ; 2 S x P ck, R x S ; 3 Sc6 R d 5 - c 5 ; 2 Sc6 ck, R x S ; 3 S x P Q g 4 ; 2 Se2 ck, Q x S ; 3 Se6 Bg4; 2 Se6 ck, B x S ; 3 Se2 N o . 119 1 Sh5, P x S ( Q ) ; 2 P d 8 ( Q ) , Q . f 5 ck; 3 K e 7 PxS(R); 2 Pd8(S), R f 5 ; 3 Sf7 P x S ( B ) ; 2 K e 5 , B x P ; 3 R g l x B ck P x S ( S ) ; 2 R h 3 , Se3; 3 S f 6 ck Sg3; 2 K e 5 Pel(Q);2Pd8(Q.)

Henry

Wald Bettmann

N o . 120 1 Pe6 threat 2 Be5 R x S ck; 2 B x R RxP; 2 PxR B d 4 ; 2 Bd2 S f 2 ; 2 Sd5 S f 4 ; 2 Sg4 N o . 121 1 Q e 3 , S x R d 6 ; 2 Sc6 ck, K x R ; 3 Q h 6 S x R f 6 ; 2 Sg6 ck, K x R ; 3 Q b 6 K x R d 6 ; 2 Q b 6 ck, K x S ; 3 R f 7 Ke5; 3 Rf5 K x R f 6 ; 2 Q h 6 ck, K x S ; 3 R d 7 Ke5; 3 Rd5 N o . 122

N o . 123

1 Q x P waiting QxQ; 2 SxQ Qf2; 2 Q x Q Q g l ; 2 Bc2 Qf3; 2 Qd7 QxBg3; 2 Q d 4 QxS; 2 Q d 3 Qf4; 2 Q x Q QxP; 2 Q x Q Sb6; 2 Q g 4 N o . 124 1 Q f 3 , Bel; 2 Bh6; 2 Bgl; 2 Bd2;2 Bg5;2 Bf2; 2

1 P c 4 waiting Q d 4 ; 2 Q x Q or Q a 3 Qd5; 2 Q x Q QxR; 2 Qd5 QxPe5; 2 Q a 3 QxS; 2 Qa3 QxPc4; 2 Q x Q QxB; 2 Qd6 Q x Q ck; 2 S x Q

Sa5, S d 2 ; 3 Q e 3 Sd8, Sg5; 3 Q e 3 Sa2xPb4, Sf2; 3 Q e 3 Sa5 Sg8 Sa2xPb4

N o . 125 1 Q e 3 threat 2 P c 4 No. 126 1 K c 3 threat 2 S f 6 Ke5; 2 Kc4 Q e 5 ck; 2 R d 4 Re5; 2 Q c 4

N o . 127 1 Rd7, SxR; 2 P x R ( Q ) Se6; 2 P c 8 ( Q ) Kc8; 2 PxS(Q) K x R ; 2 PxR(S) K x B ; 2 Pc8(S) R c 8 ; 2 PxS(S)

83

Chess Problem Gems

84

N o . 128 1 Pa8(B), P x B ( Q ) ; 2 P f 8 ( Q ) , Q g 8 ; 3 Q x Q . , R x R Q x P ck; 3 P b 5 ck, Q x P b 5 Q x S ; 3 P b 5 ck, Q x P b 5 Q else; 3 W h i t e x Q, R x R PxB ( R ) ; 2 P f 8 ( R ) , R x S ; 3 R x R f l , R x R PxB(S); 2 Pf8(S), S x Q ; 3 RxS, R x R Sf3; 3 QxS, R x R P x B ( B ) ; 2 Pf8(B), B a n y ; 3 W h i t e x B, R x R

Otto Wurzburg

OTTO WURZBURG ( 1 8 7 5 - 1 9 5 1 ) d i s p l a y e d o u t s t a n d i n g skill i n construction of both strategic and model m a t e compositions and was u n d o u b t e d l y influenced by the ideals of the B o h e m i a n School. T h e Bohemian composer is more interested in aesthetic elements t h a n in strategical maneuvers. T h u s the typical ideal B o h e m i a n composition has an attractive initial setting, is economically c o n s t r u c t e d w i t h m u c h mobility of the pieces e m p l o y e d a n d has a variety of beautiful m a t i n g positions, including several m o d e l mates. N a t u r a l l y such ideals are m o r e applicable to three-move a n d four-move problems t h a n to twomovers. W u r z b u r g , however, was a master in the blending of elegance of construction w i t h strategical ideas. It is interesting to note how sparing he was in the employment of white p a w n s ; only in six o f t h e s e t h i r t y - t w o s e l e c t i o n s o f his p r o b l e m s a r e t h e r e a n y white pawns. N o . 129, a p r o b l e m d o m classic, f e a t u r e s T u r t o n d o u b l i n g i n a m i n i a t u r e setting, previously shown in S h i n k m a n ' s N o . 67 a n d in M e r e d i t h ' s N o . 48. It is enriched by a s e c o n d a r y varia t i o n w h e r e a q u e e n sacrifice leads to a m o d e l m a t e , w h i c h m a y b e c o m p a r e d w i t h t h e t w o q u e e n sacrifice lines o f p l a y i n p r o b l e m 74. W i t h its u n u s u a l reflected m o d e l m a t e e c h o , p l u s a t h i r d m o d e l m a t e , N o . 130 i s t y p i c a l o f W u r z b u r g ' s skill i n c o m p o s i n g Bohemian type problems. E a c h of the four model mates in No. 131 i s o f a d i f f e r e n t t y p e , t w o o f t h e m f o l l o w i n g s e l f - b l o c k i n g moves by Black's king's bishop. S h o u l d W h i t e p l a y S c 3 o n t h e f i r s t m o v e i n N o . 132, B l a c k ' s only m o v e w o u l d be 1 Pc5, producing a stalemate position unless W h i t e freed t h e black king. So t h e k e y m o v e avoiding this possibility is a f o r m of I n d i a n strategy, as e x p l a i n e d in con85

14°

Chess Problem. Gems

n e c t i o n w i t h p r o b l e m 63. T o i l l u s t r a t e this m a n e u v e r w i t h o n l y six m e n is a c o n s t r u c t i o n a l f e a t . N o . 133 i s t h e p i o n e e r e x a m p l e o f t h e W u r z b u r g - P l a c h u t t a , a P l a c h u t t a interference w h e r e a white m a n is n o t m o v e d onto t h e c r i t i c a l s q u a r e . A s p r e v i o u s l y m e n t i o n e d , six y e a r s l a t e r i n N o . 118 D r . B e t t m a n p u b l i s h e d t h e first d o u b l i n g o f a W u r z burg-Plachutta interference. All s e v e n o f t h e b l a c k k n i g h t ' s m o v e s i n N o . 134, v a c a t i n g t h e d4 square to defeat the threat 2 Re5, are interferences on other black men. In the battle between the white a n d black knights i n t h e m i n i a t u r e N o . 135 t h e s t a r v a r i a t i o n i s t h e o n e w h e r e t h e q u e e n is s a c r i f i c e d a f t e r 1 S a 2 , l e a d i n g to a s e c o n d self-block by a black knight a n d e n d i n g in a model m a t e . N o . 136 m a y b e r e g a r d e d a s a t a s k p r o b l e m i n w h i c h , a c c o r d i n g to Black's play, t h e white q u e e n is sacrificed on the s e c o n d m o v e o n five d i f f e r e n t s q u a r e s . W h i l e i n N o . 137 t h e r e a r e o n l y f o u r w h i t e pieces, t h e r e i s a w i d e v a r i e t y o f s t r a t e g i c p l a y , i n c l u d i n g f o u r b l a c k u n b l o c k i n g defenses, s e v e n self-blocks a n d three black interferences. T w o of the variations end in model mates. I n t h e m i n i a t u r e N o . 138 t h e w h i t e k i n g m o v e s i n t o a n exposed position a n d m u c h of the ensuing play is a duel between t h e b l a c k r o o k a n d t h e w h i t e q u e e n ' s b i s h o p . A f t e r t h e selfblocking 1 R a l t h e m o d e l m a t e i s s p e c t a c u l a r . I n N o . 139 the white king moves to where he is exposed to consecutive checks; but in four variations the moves of the black knights obstruct those of the black rook. T h e w i t h d r a w a l k e y i n p r o b l e m 140 l e a d s t o a w a i t i n g - m o v e position with multiple I n d i a n - t y p e play following the moves of t h e b l a c k b i s h o p . O p e n i n g w i t h a sacrificial k e y m o v e , N o . 141 h a s a c u r i o u s series o f m o d e l m a t e s , essentially t h e s a m e m a t i n g position b e i n g r e p e a t e d w i t h slight variations in five d i f f e r e n t lines of p l a y . I n N o . 142 t h e b l a c k r o o k s , m o v i n g a l o n g t h e s a m e l i n e i n s t e a d o f o n i n t e r s e c t i n g lines a s i n a P l a c h u t t a i n t e r f e r e n c e , interfere with each other w h e n either of t h e m moves to e2 to defend against the threatened immediate m a t e . W h e r e a l o n g - r a n g e piece, either w h i t e or black, instead of clearing a l i n e f o r a s i m i l a r f e l l o w p i e c e , m o v e s in t h e o p p o s i t e d i r e c t i o n — t o w a r d its f e l l o w — i t is c a l l e d an anti-Bristol m o v e , since

Otto

129

Wurzburg

130 Otto Wurzburg V Bahn Frei 1895

Otto Wurzburg Tijdschrift van den Nederland Schaakbond May, 1900



131

132

Otto Wurzburg The Des Moines Leader 1902

Otto Wurzburg Lasher's Chess Magazine November, 1905



87

12

Chess Problem Gems

134

133 Otto Wurzburg V Zlata Praha June 25, 1909

Otto Wurzburg Pittsburgh Leader Tourney 1909-1910



136

135 Otto Wurzburg Westen und Daheim September 10, 1911


The

Otto Wurzburg Pittsburgh Gazette-Times February 25, 1912

White mates in four moves

Otto

137 The

Wurzburg

89

138 Otto Wurzburg Pittsburgh Gazette- Times March 9, 1912

Otto Wurzburg First Prize Samuel Loyd Memorial Tourney 1913



139

140 Otto Wurzburg The Problem April 25, 1914

Otto Wurzburg The Problem October 3, 1914



14°

Chess Problem. Gems

t h e m o v e i s t h e o p p o s i t e o f t h a t i n a Bristol c l e a r a n c e . S o t h e p l a y o f t h e r o o k s i n N o . 142 m a y b e t e r m e d a m u t u a l anti-Bristol interference. N o . 143 e c h o e s t h e p l a y of t h e f a m o u s Bonus Socius t w o - m o v e r that was composed some time in the thirteenth century. T h e black p a w n is required to avoid a dual continuation. W i t h o u t i t t h e p l a y c o u l d also r u n 1 R h 7 , S d 4 ; 2 R b 7 , S e 6 ; 3 K h l , g l or g3 waiting. N o . 144 s h o w s m u l t i p l e e c h o e s o f a s i m p l e t y p e o f m i r r o r m o d e l m a t e s . F r o m its d e c e p t i v e s i m p l i c i t y o f c o n s t r u c t i o n f e w solvers m a y a p p r e c i a t e t h e skill r e q u i r e d t o c o m p o s e s u c h a p r o b l e m . T h e f l i g h t - y i e l d i n g k e y o f p r o b l e m 145 l e a d s t o five model mate denouements, including three pin-models. In the c o m p l e t e black knight wheel in N o . 146 six of t h e k n i g h t ' s m o v e s a r e i n t e r f e r e n c e s o n o t h e r b l a c k pieces, t w o o f t h e m also b e i n g unpins of the white queen. A w a i t i n g - m o v e k e y in N o . 147 l e a d s to a series of e c h o e d model mates. N o t only does the white king m a k e the keymove i n N o . 148 b u t h e d i s c o v e r s m a t e i n t h r e e v a r i a t i o n s , t w o b e i n g c h a m e l e o n echoes. O n c e a g a i n , i n t h e m i n i a t u r e N o . 149, t h e k i n g m a k e s t h e k e y m o v e , this t i m e a s u r p r i s i n g r e t r e a t t o v a c a t e a s q u a r e t o enable a bishop to m a k e a threat, leading to echoed c h a m e l e o n m o d e l m a t e s . F o l l o w i n g t h e f l i g h t - y i e l d i n g k e y i n N o . 150 t h e continuations include two pairs of echoed model mates. I n p r o b l e m 151 a n t i - B r i s t o l p l a y i s c o m b i n e d w i t h Brede cross-check v a r i a t i o n s , i n w h i c h a w h i t e p i e c e b e c o m e s p i n n e d w h e n it interposes to defend against a check by Black a n d then on a subsequent move is u n p i n n e d when a black m a n makes an i n t e r f e r e n c e o n t h e p i n n i n g line, r e l e a s i n g t h e w h i t e p i e c e t o m a k e the m a t i n g move. This maneuver is so n a m e d from being shown in a p r o b l e m by Julius Brede (1800-1849), published in Schachaufgaben i n 1844. I n N o . 151 i t i s t h e k i n g t h a t m a k e s Black's m o v e in the Brede variations. I t m a y s u r p r i s e t h e solver w h e n h e d i s c o v e r s t h a t N o . 152 i s a m u t a t e and that neither the white king nor queen is able to m a k e a w a i t i n g m o v e . T h e k e y c h a n g e s t h r e e set m a t e s a n d adds another. N o . 153, o n e o f W u r z b u r g ' s m a s t e r p i e c e s , m a y b e r e g a r d e d as a c o m b i n a t i o n of t w o three-move p r o b l e m positions, differ-

Otto

141 The

142 Otto Wurzburg Pittsburgh Gazette-Times December 5, 1915


143 The

97

Wurzburg

The

Otto Wurzburg Pittsburgh Gazette- Times April 22, 1917


144 Otto Wurzburg Pittsburgh Gazette-Times February 17, 1918


Otto Wurzburg First Prize—Class A Densmore Memorial Tourney 1918-1920


12

Chess Problem Gems

146

145 Otto Wurzburg Eskilstuna Kuriren March 15, 1919

Otto Wurzburg The Atlanta Journal February, 1920



148

147 Otto Wurzburg Good Companions August, 1921


Otto Wurzburg The Pittsburgh Post February 1, 1925

White mates in f o u r moves

Otto

149

Wurzburg

93

150 Otto Wurzburg Fourth Prize Prager Presse 1926

V

Otto Wurzburg The Pittsburgh Post April 30, 1927



151

152

The

Otto Wurzburg Minneapolis Journal January 21, 1934


Otto Wurzburg American Chess Bulletin January, 1936


12

Chess Problem Gems

153

154

Otto Wurzburg First Prize Third Cheney Miniature Tourney 1937

Otto Wurzburg The Atlanta Journal September 29, 1939



155 Otto Wurzburg First Prize American Chess Bulletin 1939


156 Otto Wurzburg First Honorable Mention American Chess Bulletin 1940


Otto

157 Otto Wurzburg First Commended American Chess Bulletin 1942


159 Otto Wurzburg The Chess Correspondent January, 1942


Wurzburg

95

158

Sam

Otto Wurzburg First Prize Loyd Memorial Tourney Chess Review 1942


160 Otto Wurzburg To Alain White 1945


14°

Chess Problem. Gems

e n t i a t e d b y t h e first m o v e o f t h e b l a c k k i n g , t o f 1 o r t o f 3 . E a c h continuation leads to two model mates, which are chameleon echoes of the m a t e s in the other c o n t i n u a t i o n . I n t h e m u t a t e N o . 154 t h e s u r p r i s i n g B r i s t o l - t y p e k e y c h a n g e s t h e m a t e set f o r 1 P f 3 t o a m u c h m o r e a t t r a c t i v e o n e . Besides t h e t w o q u e e n sacrifices i n N o . 155, f o l l o w e d b y m o d e l mates, there is additional interesting play. O p e n i n g with a s u b t l e w a i t i n g - m o v e k e y , N o . 156 h a s a p a i r o f s y m m e t r i c a l l y e c h o e d m o d e l m a t e s a n d also a p a i r o f e c h o e d p i n - m a t e s . N o . 157, a n o t h e r m i n i a t u r e , h a s a s u r p r i s i n g a m o u n t o f p l a y f o r t h e few pieces e m p l o y e d , w i t h several m o d e l m a t e s . A duel between the black q u e e n a n d the white rooks is introd u c e d b y a n e x c e l l e n t k e y i n t h e m i n i a t u r e N o . 158. T h e solver s h o u l d n o t e t h e s e v e n tries b y t h e k i n g ' s r o o k , e a c h o f w h i c h i s o n l y d e f e a t e d b y a single m o v e o f t h e q u e e n . A n o t h e r e x c e l l e n t k e y i n N o . 159 l e a d s t o a v a r i e t y o f s t r a t e g i c p l a y . P r o b l e m 160 is an e x a m p l e of t h e Roman theme in a m i n i a t u r e s e t t i n g . I n this t h e m e a n i n i t i a l m a t i n g t h r e a t b y W h i t e i s d e f e a t e d b y a single b l a c k d e f e n s i v e m o v e . W h i t e t h e r e f o r e d e c o y s the black defending piece to another square f r o m which an analogous d e f e n d i n g m o v e is ineffective. In this p r o b l e m if W h i t e plays 1 K f 8 immediately, threatening m a t e by 2 Q g 7 or 2 Q f 6 , Black has an effective defense in 1 R f 4 , pinning the q u e e n . T h e key, 1 K e 8 , leads to t h e subtle t h r e a t of 2 Bh7. W h i l e Black c a n defeat this t h r e a t by 1 R h 6 , White can now proceed with 2 K f 8 a n d a l t h o u g h 2 R f 6 pins the queen, White can mate by 3 Q x R . This final p r o b l e m was contributed by W u r z b u r g for the v o l u m e T o Alain White, e d i t e d b y E d g a r W . A l l e n a n d E r i c M . H a s s b e r g , w h i c h F r a n k A l t s c h u l h a d p r i n t e d a t his p r i v a t e O v e r b r o o k Press a s a t r i b u t e t o A l a i n W h i t e o n his s i x t y - f i f t h b i r t h d a y , M a r c h 3 , 1945.

Otto

Wurzburg

S O L U T I O N S N o . 129 1 Bh3 threat 2 Q g 4 P a 5 ; 2 Q a 6 ck, K x Q ; 3 Bc8 else; 3 Q c 8 N o . 130 1 Bg4 threat 2 S b 3 P f 2 ; 2 B f 5 ck, K e 3 ; 3 Q h 6 K e 3 ; 2 S x P dis ck, K e 2 ; 3 Q a 6 K d 3 ; 2 Q f 4 , any; 3 Bf5 Se2; 2 SxS, P x S ; 3 Q d 4 S e 6 ; 2 SxS, a n y ; 3 Sg5 N o . 131 1 Q g 3 threat 2 Bc4 ck, K e 4 ; 3 Q e l KxB; 3 Q b 3 Kc6; 3 Qc7 Be5; 2 Q b 3 ck, K d 6 ; 3 S f 5 Ke4; 3 Q f 3 BxS; 2 Sc7 ck, K e 4 ; 3 Bd3 Kc5; 3 Q a 3 B a 6 ; 2 Bc6 ck, K c 4 ; 3 Q b 3 K e 4 ; 2 Bc4 N o . 132 1 B a l , P c 5 ; 2 Sc3, K d 4 ; 3 Q e 4 K d 5 ; 2 Q b 3 ck, K x S ; 3 Q f 3 N o . 133 1 Se5 threat 2 Q b 2 , R c 4 - d 4 ; 3 Sd7 R d 3 - d 4 ; 3 SxPg4 R c 4 - d 4 ; 2 Q d 5 , R x Q , ; 3 SxPg4 R d 3 - d 4 ; 2 Q e 4 , R x Q ; 3 Sd7 Sa7 a n y ; 2 Q c 6 ( x ) ck Pg3; 2 Q f 3 c k N o . 134 1 Q c 7 threat 2 R e 5 S b 3 ; 2 Sb4 Sb5; 2 Q b 7 Sc6; 2 Q d 7

1

Se6; 2 Sf3;2 Se2; 2 Sc2; 2

Rh5xP Sh3xP QxPc4 Sa2xP

97

14°

Chess Problem. Gems

No. 135 1 S b 3 waiting

Sa2; 2 Qb2 ck, SxQ,; 3 Sa3 Sd3; 2 Q a l ck, Kc2; 3 Sd4 Kc2; 2 Sd4 ck, K b l ; 3 Sd2 Kdl; 3 Qal Sc6; 2 Se3 Sd5;2 Sd4 No. 136 1 Pc7, R a 3 ; 2 Q e 3 ck (threat), K x Q ; 3 R e 6

Q x Q ; 3 Bc6 Pc2; 2 Qe5 ck, KxQ; 3Bd3 QxSe2; 2 Qd4 ck, KxQ; 3 Re6 QxSf4; 2 Qd5 ck, KxQ; 3 Bd3 Sg4; 2 Q f 5 ck, KxQ; 3 Bd3 No. 137 1 Q g 8 threat 2 R g 7 ck, K d 6 ; 3 Q d 5

Kf6; 3 Q f 7 Q e 4 ; 2 S d 5 threat 3 R f 6

QxS; 3 Qg6 Qf5; 2 Rf6 ck, KxR; 3 Sd5 KxS; 3 Q f 8 Pe4; 2 Q g 6 ck, Ke5; 3 Q f 6 Pd6; 2 Rg7 ck, Kd7; 3 Qc8 Pd5; 2 Sc8, Sf5; 3 Qg6 else; 3 Qe8 Qh7; 2 R x Q ck, Kf6; 3 Qg6 Kd6; 2 Rf6 ck, KxS; 3 Q f 8 Q f l ; 2 Qg6 ck, Qf6; 3 Q x Q No. 138 1 Ke2, R a l ; 2 Be4 ck, Ka2; 3 Qg8 Ra2 ck; 2 Bd2 dis ck, K any; 3 Q c l Re6 ck; 2 Be3 dis ck, K any; 3 Q c l Rf6; 2 Bf4 dis ck, K any; 3 Qcl Rg6; 2 Bg5 dis ck, K any; 3 Qcl Kc2; 2 Q d l ck, Kc3; 3 Qd2 K b l ; 3 Ba3 Rc6; 2 Ba3 dis ck, Kc2; 3 Qcl Bb2; 2 Bd2 dis ck, Kc2; 3 Qdl Bel; 3 QxB

Otto

Wurzburg

N o . 139 1 K d 5 , Sc3 c k ; 2 K c 4 , R f 4 ck; 3 Be4 Se3 c k ; 2 K c 5 , R f 5 ck; 3 Bd5 Sf6 ck, 2 K e 6 , R e 3 ck; 3 Be4 S f 4 c k ; 2 K d 6 , R d 3 ck; 3 Bd5 R f 5 c k ; 2 K d 4 , R c 5 ; 3 Bc6 R d 3 c k ; 2 K e 5 , R c 3 ; 3 Bc6 N o . 140 1 R h 5 waiting B h 4 ; 2 P d 3 , Bg5 ck; 3 BxB, S a n y ; 4 Bd2 B e l ; 3 Be3 Bg3; 2 Bg7, Be5; 3 BxB B d 6 ; 3 Bc3 ck, B b 4 ; 4 BxB B f 2 ; 2 Bf8, Bc5; 3 BxB N o . 141 1 Q f l threat 2 S f 6 ck, K x B ; 3 Sc4 K x S ; 2 Q f 3 ck, K x B ; 3 Sc4 P d 3 ; 2 Q x P ck, K x B ; 3 Sc4 B f 5 ; 2 Q x S ck, K x B ; 3 Sc4 K x B ; 2 Sc4 ck, K e 4 ; 3 S f 6 P x S ; 2 Bg3 threat 3 Q d 3 ( x ) Sel; 3 Q f 4 S e 3 , f 4 ; 2 Q f 4 ( x ) ck N o . 142 1 R c 5 threat 2 R e 5 Rc2-e2; 2 Rd5, R d 2 ; 3 Re5 Rh2-e2; 2 Rf5, R f 2 ; 3 Re5 Sf3; 2 Rf5, any; 3 R f 8 K e 7 ; 2 R c 6 dis ck, K e 8 ; 3 R e 6 K f 8 ; 2 R g 5 dis ck, K e 8 ; 3 R g 8 N o . 143 1 R h 7 , S d 4 ; 2 R a 7 , Se6; 3 R a 7 - b 7 Sd6; 2 R a 7 , K d 8 ; 3 R h 7 - g 7 N o . 144 1 R b 5 - e 5 waiting Kf4,g4; 2 Rel-e3, any; 3 Q b 4 K f 2 , g 2 ; 2 Re5-e3, Pe5; 3 Q b 2 P h 5 ; 2 R g 5 , Pe5; 3 Q f 8 P a 3 ; 2 Q b 3 ck, K g 4 ; 3 R e l - e 4 K g 3 ; 2 R g 5 d b l ck, a n y ; 3 Q g 3

99

14°

Chess Problem. Gems

No. 145 1 Q c l threat 2 S x S ck, K b 4 ; 3 Q b 2

Rb4; 2 Qc7 ck, Rb6; 3 Sc6 Pa3; 2 QxP ck, Ra4; 3 Se5-c4 Bc3; 2 QxB ck, Rb4; 3 Se5-c4 Kb4; 2 SxP ck, Ka5; 3 Qc7 SxS; 2 Qc5 ck, Sb5; 3 Sc6 No. 146 1 B f 2 threat 2 R d 4

1

Q x Q ck; 2 SxQ Sc4; 2 Qd4 Sc6; 2 Qe3 Sd7; 2 Bf5

Sf7; 2 Bd5

Sg6; 2 Sg5 Sg4; S Rf4 Sf3; 2 PxS Sd3; 2 PxS

No. 147 1 R b 7 waiting

Kd5; 2 Qa2 ck, Kc5; 3 Se4 Pd3; 2 Sf5, Pc5; 3 Se3 Pc5; 2 Qa6 ck, Kc3; 3 Se4 Kd3; 2 Q f l ck, Kc3; 3 Se4 Pcl(Q); 2 Q x Q ck, Kd3; 3 Rb3 Kd5; 3 Rd7 Kc5; 2 Se2 or Sf5 No. 148 1 Kb6, Ke3; 2 Kc5, Kf4; 3 Kd5, Kf3; 4 Ke5 Kd3; 3 Rf2, Ke3; 4 Kc4 Kd4; 2 Re2, Kd3; 3 Ba6 ck, Kd4; 4 Kc6 Kc4; 3 Ka5, Kb3; 4 Bd5 Kc4; 2 Rd2, K any; 3 Bd5(ck), any; 4 Rd4 No. 149 1 K a 8 threat 2 B a 7 threat 3 Q h 3

Kg3; 3 Q f 2 Pe4; 2 Ba6, any; 3 Q f l K g 3 ; 2 B a 7 threat 3 Q f 2

Kg2; 3 Qh3 No. 150 1 B e l threat 2 B b 2 ck, K e 3 ; 3 S d 5

Pc4; 2 Qf5, Pc3; 3 Qd5 else; 3 Sb5 Pf2; 2 Qe2, Pc4; 3 Qe3 Ke5; 2 QxP ck, Kf6; 3 Qg5

Otto

Wurzburg

No. 151 1 Rd3, Ra6-b6; 2 Ra3 threat 3 Ra2 Ra6; 3 Rb3 Rh6-b6; 2 RxP threat 3 Rg2 Rc6; 3 Rb3 KxSbl dis ck; 2 Rc3 dis ck, Kb2; 3 Rb3 Kc2 dis ck; 2 Rd4 dis ck, Kb2; 3 Rb4 No. 152 1 S d 4 waiting

Sa3 any; 2 Sd4-c2(x) Se7 any; 2 Sc6(x)

1 - - PxS; 2 QxS Pc2; 2 Qel

No. 153 1 Bf5, K f l ; 2 Bg4, Kf2; 3 Bd2, Kg3; 4 Bel Kf 1; 4 Rf4 Kf3; 2 Kgl, Ke2; 3 Bc2, Kf3; 4 Bdl K e l ; 4 Re4 Ke2; 2 Kg2, K e l ; 3 Bd3, K d l ; 4 Ral No. 154 1 R a 8 waiting

Pf3; 2 Q b 8 Ph3; 2 Sf5 S any; 2 Se2(x)

1 - - R x Q ; 2 RxR R else; 2 QxR Ph6, h5; 2 QxR

No. 155 1 Q b 6 threat 2 S f 2 dis ck, K g 5 ; 3 Q d 8

Ke4; 2 Qe3 ck, PxQ; 3 Pg4-e5 Pg5; 2 Qg6 ck, KxQ; 3 Sg4-e5 Qd3; 2 Se3 ck, Ke4; 3 Bg2 Qe4; 2 Sg4-e5 ck, Kg5; 3 Qd8 Kg5; 2 Qd8 ck, Kf5; 3 Sf2 No. 156 1 R f 5 waiting

Ba3; 2 R f l ck, Ka2; 3 QxP Bel; 3 Qb2 Ka2; 2 Ra5 ck, K b l ; 3 Q f 5 Ba3; 2 Qb2 Kc2; 2 Rb5 etc.

101

14°

Chess Problem. Gems

N o . 157 1 Q e 5 , Ba3; 2 Bf7, K d 7 ; 3 Q c 7 Bd6; 3 Q e 8 K d 7 ; 2 Bf7, Bd8; 3 Q e 6 Bd6; 3 Q e 8 Kc6; 3 Q d 5 B d 6 , f 6 ; 2 Q d 6 ( x ) ck, K e 8 ; 3 Sc7 K e 8 ; 2 Sb6, K d 8 ; 3 Q b 8 Kf8; 3 Qh8 N o . 158 1 R a 2 , Q c 7 , h 2 ; 2 R a 8 ck etc. Q c 8 , g 8 ; 2 R h 2 ck etc. N o . 159 1 Q f 3 threat 2 R x P c 6 P x Q ; 2 Bh3 Q x Q ; 2 Bf5 Pe4; 2 Q x B Se4; 2 Q d 3

1

Sa7; 2 Q f 8 S e 7 ; 2 Bc7 Qcl; 2 QxPc5

N o . 160 1 K e 8 threat 2 B h 7 threat 3 Q g 8 RxB; 3 Q f 8 Rh6; 2 Kf8, Rf6; 3 Q x R

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CHESS PROBLEM GEMS BY EIGHT EMINENT AMERICAN COMPOSERS KENNETH S.HOWARD T h i s is a collection of profound and ingenious chess problems composed by eight of the most outstanding American composers—160 masterpieces in all, with commentary and solutions in full detail. Any chess enthusiast working through this treasury will discover one subtle and exciting master problem after another, and a thorough reading cannot fail to augment the skill and style of any player, no matter how advanced. In his presentation the author also goes a long way toward helping the relatively unskilled player to master these ingenious problems. T h e work of these composers (with the single exception of Sam Loyd's) is currently unavailable in any other book, being either out of print or previously uncollected. Loyd is well represented by 24 of his world-famous problems, with their unusual settings, spectacular keys and subtle continuations. An equal number of problems displays the problemical skill of Henry Wald Bettmann, the prominent surgeon who was also the most outstanding American task composer in chess. T h e r e are 32 problems each by William Shinkman, "the wizard of Grand R a p i d s , " showing his great ability to illustrate a strategic theme with a minimum number of men, and by his nephew Otto Wurzburg, a master in the blending of elegance of construction with strategical ideas. Eugene Cook, the earliest of the American masters, is represented by 8 of his lightweight problems; 16 problems by William Meredith, including a number of the type now called "Merediths," display his masterful economy of construction; and finally, George Carpenter, with his varied and colorful style, and D. J. Densmore, known for his ingenious illustrations of black interferences, are represented by 12 problems each. In a group of prefatory essays, the author—an internationally famous problemist, chess writer and editor, well-known as a judge in problem tourneys—provides a brief historical survey of chess problem composition in America, a detailed vocabulary of the specialized terms used in his commentaries and in discussing chess problems in general, and a short explanation of the notation used. T h i s introductory material is especially helpful to those who wish to find an inroad of study to the expanding world of chess excitement that this book has to offer. A Dover original, first published in 1973. v -f- 102pp. 53/g x 8i/g. Paperbound.

160 problems with full solutions,

A D O V E R E D I T I O N D E S I G N E D F O R Y E A R S O F USE! We have made every effort to make this the best book possible. Our paper is opaque, with minimal show-through; it will not discolor or become brittle with age. Pages are sewn in signatures, in the method traditionally used for the best books, and will not drop out, as often happens with paperbacks held together with glue. Books open flat for easy reference. T h e binding will not crack or split. T h i s is a permanent book.

ISBN 0-486-22166-0

$2.50 in U.S.A.

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