Originals
Vol II, No.21-24, Winter 1999

13-14:
#2
#3,n
h#2
h#3,n
s#2,n
15:
#2
#3,n
h#2
h#3,n
s#2,n
16:
#2
#3,n
h#2
h#3,n
s#2,n
17-20:
#2
#3,n
h#2
h#3,n
s#2,n
21-24:
#2
#3,n
h#2
h#3,n
s#2,n

Original Twomovers

513. Nikola Veliky
Ukraine
9K2B1Q3R1P6k6p1rp6pP6P






#2v... 7+5
1.Bf8? Rd4,Re5 2.Qg5,Qd7#, 1... c3!
1.Qh8? Rd4,Re5 2.Qh5,Qd8#, 1... c3!
1.Qa1? Rd4,Re5 2.Qa5,Qd1#, 1... c3!
1.Qc3! Rd4,Re5,Re6: 2.Qa5,Qc4:,Rc5#
Almost a four phase Zagoruiko (mate 2.Qa5 appears twice), but the same refutation to all tries is a disappointment.[MV]

514. Valery Shanshin
Kirgizia
6B11R3s5kp5SP5p10K4Q1R2b






#2*v 7+5
1... Kd4:,Be4: 2.Qc3:,Sf3#
1.Qc3:?(A) ~ 2.Se6#
1... Kf4,Be4: 2.Qg3,Se2(B)#
1... fe4!
1.Se2!(B) ~ 2.Re6#
1... Ke4:,Be4: 2.Qe3,Qc3:(A)#
1... fe4,Sf8 2.Qg5,Qf4#
Changed mates in "Chepizny" form and theme Salazar.[A]
A three phase changed mates after black self-block and BK flight to different squares, which is not quite "Chepizny" form where the same mate is a response do different BK moves. A reversal of white first and mating moves Qc3 and Se2 is often wrongly labelled as "Salazar" theme, which in fact does contain such reversal, but also requires a change of two direct/indirect mates which further implies the white switchbacks. However, the inaccuraties in terminology take nothing from the value of this excellent Meredith.[MV]

515. Sinisa Perunicic
Yugoslavia
3R6p5QbS1K3p7r3k3r10BP10S






#2vv 7+6
1.Sd4? ~ 2.Sf2#(A)
1... Rf3,Bd4: 2.ef3,Qc6#
1... Re3!(a)
1.Rd3? ~ 2.Sg3#(B)
1... Rd3:,Bf2 2.Qd3:,Sf2:#
1... Be3!(b)
1.Rf8! ~ 2.Rf4#
1... Re3(a),Be3(b),Rf3 2.Sf2(A),Sg3(B),ef3#
Dombrovskis and Grimshaw.[A]
Economical rendering of a good old Grimshaw mechanism for the Dombrovskis theme, but the strongest white piece has only a side role, especially after the key.[MV]

516. Sinisa Perunicic
Yugoslavia
3s7S4s6RSp1k2r4p2pb5P2bK1Q7B






#2v 7+9
1.Qc2? ~,Bb1,gf3,Re5,Sc5,Se6 2.Qe4,Qb3,Bf3:,Sb6,Qc5:,Qc6#
1... Rg6!
1.Qe2! ~,Bb1,gf3,Re5,Sc5,Se6 2.Qe4,Bb3,Qf3:,Qe5:,Sb6,Qe6:#
Five changed mates in economical position, but symmetry, as always, spoils the impression.[MV]

517. Valery Shanshin
Kirgizia
4b1r1pR2b3S5p1k5BRp9rB1p7Q6s1K






#2vv 7+10
1.Sb4? ~ 2.Qa7:#, 1... Rc5!
1.Sc7? ~ 2.Qa7:#, 1... Bc5!
1.Sb8! ~,Rc5,Bc5,a6 2.Qa7:,Bd2,Bd8,Qb6#
Grimshaw.[A]
Interesting pin-mates after mutual interferences of BR and BB in pleasant position, even with superflouos BRg8, but with unpleasant dual after 1... Rc6 2.Bd2/Rb5#.[MV]

518. Darko Saljic
Yugoslavia
1Q9p1p3R7r5rB2PpP4P3BRp3k7SSK






#2v... 11+7
1.Qc8? ~,d5(x) 2.Qc4(A),Qg4(B)#
1... Rb4/Rb3!
1.Qg8? ~,f5(y) 2.Qg4(B),Qc4(A)#
1... Rh4!
1.Qe8? ~,d5(x),f5(y) 2.Qe4:,Qb5:(C),Qh5:(D)#
1... Rb3!
1.Qe5! ~ 2.Qe4:#
1... ~,d5(x),f5(y) 2.Qe4:,Qh5:(D),Qb5:(C)#
1... e3,Rbe5:,Rhe5: 2.Qe3:,Rb2,Rh2#
This ambitious pattern play consists of two halves, one corresponding to pseudo le Grand theme and another to reciprocal change of mates, always with different departure squares for thematic mates. Pity that one try is defeated by two defences.[MV]

519. V. Melnichenko & V. Rudenko
Ukraine
s3S2b5p2K1p1p5PkB1p7R1pP1S1P5Q6r1r1q






#2vv 9+11
(*1... Qf1 2.Rd4#)
1.Bd6? ~ 2.Sb4/Sf4#
1... Qd4,e5 2.Sb4,Sf4#, 1... Qf1!
1.Qg5:? ~ 2.Qd8#
1... Be5:,Qc5: 2.Sf6,Sf4#, 1... f6!
1.Qa5! ~ 2.Qd8#
1... Be5:,Qc5: 2.Sb4,Rd4#
1... Sc7+,Bf6 2.Sc7:,Sf6:#
6th WCCT theme with reciprocal change of defensive motives Nietvelt / guard. Rudenko theme in a non-traditional form.[A]
The publication of this problem have been postponed since the WCCT is still running.

520. Efren Petite
Spain
6B4P2S1bR6Kpk5p1SpP2bp5r1p4r1BQ4Rq






#2vv 10+11
1.Sd2?(A) ~ 2.Se6#
1... Rg6(b),Rd2: 2.Qc1(C),Rf5#, 1... Rf6!
1.Se3?(B) ~ 2.Se6#
1... Rf6(a),Re3: 2.Qc1(C),Bd6#, 1... Rg6!
1.Qc1!(C) ~ 2.Se6#
1... Rf6(a),Rg6(b) 2.Se3(B),Sd2(A)#
1... Rc2,Rc4 2.Rf5,Bd6#
1... Rg7: 2.Bd6/Sd2#
Not quite new but clear presentation of the Banny theme. A dual by-variation could have been easely eliminated by addition of the WPg6.[MV]

521. Dragan Stojnic
Yugoslavia
SR3S1sPB2Rrp2p1kPprb1KpP1Pp7P9Q6PB






#2vv 14+10
1.Qa3? (~), 1... Ke7:!
1... Re7: 2.Qg3#
1.Qd2? (~), 1... Re7:!
1... Ke7: 2.d6#
1... c4 2.Qb4#
(1.h3? Re7: 2.Qh2#, 1... Ke7:!)
(1.Qa6? Re7: 2.Qb6:#, 1... Ke7:!)
(1.Rc8? Re7: 2.Rc6#, 1... Ke7:!)
1.dc6(ep)! (~)
1... Ke7:,Re7: 2.Qa3,Qd2#
1... Rf8: 2.ef8Q#
Ideal form of theme Vladimirov with changed mates after black thematic defences/defeats.[A]
The greatest difficulty of the Vladimirov theme - how to avoid the key move to be a mate in tries - is here resolved ny means of "It's now or never" particularity of the en passant capture.[MV]

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