Originals
Vol II, No.17-20, Winter 1998

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

396. Vyacheslav Kamenskiy
Russia
22R6P9k5K15B






#2 4+1
1.Be2! (~)
1... Kh3,Kh5 2.Rh6,Kg3#
Too simple, even for an 5-piece position.[MV]
Compare to Denkovski's 396a.
396a. Gligor Denkovski
Studentski zbor 6.3.1967
5B15K5k14R9R






#2 4+1
1.Bg7! Kd4,Kd6 2.Ke6,Rd2#

397. Victor Kolpakov
Russia
13K2B9Q9P9S13k






#2 b) WQc5-->b8 5+1
a) 1.Se2! (~)
1... Kd1/Kd2,Kf1 2.Qc1,Qg1#
(1.Qc3+ Kd1 2.Be2#, 1... Kf2!)
b) 1.Sf1! (~)
1... Kd1,Kf2 2.Qb1,Qg3#
Twins with changed play. WPe4 is necessary only for second position.[MV]

398. Vyacheslav Kamenskiy
Russia
22S1p2p7k4Q11K1B






#2 4+3
1.Bf1! (~)
1... Kc4,Ke4,a4 2.Ke3,Qd3,Qb4#
Similar effect as in No.396, but presence of WQ makes the solution more difficult.[MV]

399. Vyacheslav Kamenskiy
Russia
25pB4K11p1B1SR2p8Sk






#2 6+4
1.Bb4! (~)
1... Ke1: 2.Ra1#
1... de1Q 2.Bg2#
1... de1S 2.Rf2#
1... d1Q 2.Rf2#
1... d1S 2.Bg2#
Reciprocal mates after Pd2 promotions.[A].

400. M. Lipton & J. Rice
England
k6K1pB6PP2s18p1s2R10b6B






#2v... 6+6
1.Rf4? ~ 2.cb7#, 1... Sce4!
1... Sfd5/Sfe4 2.Rf8#
1... Scd5 2.Ra4#
1.Rf5? ~ 2.Ra5/cb7#, 1... Scd5!
1... Sfd5 2.Rf8#
1.Re3? ~ 2.cb7#, 1... Sfe4!
1... Scd5/Sce4 2.Ra3:#
1... Sfd5 2.Re8#
1.Rd3? ~ 2.Rd8/cb7#, 1... Sfd5!
1... Scd5 2.Ra3:#
1.Rg3! ~ 2.cb7#
1... Scd5/Sce4 2.Ra3:#
1... Sfd5/Sfe4 2.Rg8#
1... bc6 2.Bc6:#
White's four tries are defeated by a Nowotny-style interference on one of the cutting points d5 and e4. The key ensures that no double line-cutting is possible. We were pleased to discover the cook-stopping device with BBa1 and WKh8, and to get the idea to work in Meredith.[A]
Unfortunate, bud unavoidable symmetry of the tries.[ZG]

401. Srecko Radovic
Yugoslavia
5R16pbR11S1k5P2r8Q2KBB






#2vv 8+4
1.Qf6? ~ 2.Qe6#, 1... g5!
1... Rh5,Bf4 2.Qf3,Qf4:#
1.Qa4? ~ 2.Qd7#, 1... Bf8:!
1.Qd4! ~ 2.Qd7#
1... g5 2.Sg3# (2.Sf6?)
1... Bf8: 2.Sd2# (2.Sg5?)
1... Rh5,Rg3,Rf3 2.Sg5,Sf2,Sf6#
1... Bf4,Bg5 2.Rf4:,Rg5:#
Variation 1... Bf8 2.Sd2 makes the difference from the famous Botacchi mechanism, and the refutation for 1.Qa4? try. Here we see two interesting paits of mates, with Sf6 and Sg5 as effective and non-effective mates.[MK] ... as a matter of fact, there is no dual-avoidance after 1... Bf8 at all![MV]
See diagram 401a.
401a. A. Bottacchi
1.pr Alfiere di Re 1921
bb8ppR10K1s5R3k1S2s1r3SQ1P11B






#2 8+8
1.Qh4! ~ 2.Qf6#

402. Milan Velimirovic
Yugoslavia
1B7Q5B5q2R2S1Pp1R2Pk6p10K






#2 9+4
1... Qf5: 2.Qe7#, (1... Qd4: 2.f6/Qe7#)
1.Kf2! ~ 2.Sc3/Sf6:#
1... Qd4:+,Qf5:+ 2.Se3,Sf4#
1... Qe5,Qd6,d2 2.de5,f6,Qb1#
Check-provoking key, one pair of cross-checks with pin mates and another with P-battery mates.[A]
Unpleasenat set dual after 1... Qd4: could have been avoided at the cost of loosing WP-battery mates, which is a high price for such an "improvement".[ZG]

403. Darko Saljic
Yugoslavia
B1sK1Q1b3S8k10r4P2s3p1p4S8R






#2* 7+7
1... Sf5,dc2 2.Bd5,Qg8#
1.e5! ~ 2.Sd4#
1... Sf5,dc2 2.Qg8,Bd5#
1... Bf6+,Be5: 2.Qf6:,Sc5#
Reciprocal change in light and attractive setting.[MV]

404. Alexander Zidek
Austria
3S1s1s3R1P2Q5p3K1pkp1B2P2R4p3P






#2v 9+7
1.Qd6? ~ 2.Qe5:#, 1... ed4!
1.Qc6? ~ 2.Qf3#, 1... Sd7:+!
1.Bb5? (~), 1... d2!
1.Rd6? ~ 2.Rf6#, 1... Sd7+ 2.Bd7:#, 1... Se6+!
1.de5? ~ 2.Qf6#, 1... Ke5: 2.Rd5#, 1... Sd7:+!
1.Kc4? (~), 1... d2!
1.Kb4! (~)
1... e5~ 2.Rd5#
1... Sf~ 2.Qe6#
1... Sf7: 2.Rf7:#
1... d2 2.Qf1#
Wechselseitige Turm/Dame- sowie Dame/Laufer-Verstellungen sowie veitere Verfuhrungen.[A]
Intriguing "Holzhausen" tries, but the value of the try 1.Qc6? Sd7:+! is decreased because of actual minor dual 1... Sd7: 2.Bd7:/Se6#.[ZG]

405. Marjan Kovacevic
Yugoslavia
7s1R4R4p1kb1p1r1SP2Kp1B3S13Q3B






#2 9+7
1... R~ 2.Sef3/Sf7#
1... B~ 2.Sg4/Sd7#
1.Sg2! ~ 2.Qh4#
1... Rc7 2.Sf3#
1... Rc2 2.Sf7#
1... Bf7 2.Sg4#
1... Be8+ 2.Sd7#
1... Kg5,Bf5:,Sf7 2.Qh4,Qf5:,Rg6:#
Two pairs of dual-avoidance variations with all mates from the same S-battery.[A]
Marvelous separation of set duals by means of line theme in the first pair, and by less harmonoius motives in the second pair of variations.[ZG]

406. Y. Marker & A. Pankratyev
Germany / Russia
3SB2B4p2p2P3bQ1p1kP8R3P5p5K4R






#2v 10+6
1.b4? ~ 2.Rc5#
1... Bc2 2.Qe6#
1... Be4!
1.Ke3? ~ 2.Rd4#
1... Be4 2.Qe6#
1... Bc2!
1.Se6! ~ 2.Sc7#
1... Be4 2.Rc5#
1... Bc2 2.Rd4#
1... Ke6: 2.Bf7#
Dombrovskis with changed mates after non-defeating thematic defences. Not new, and lacks the unity already reached by earlier examples. For instance, here WPb3 is added only to make a try move, two tries and key are made by three different pieces.[MV]
Very well-known matrix of "Ideal Dombrovskis" (including transferred mate in the tries), anticipated by several previous examples, even by Mr. Pankratyev himself! Compare to Alaikov's problem (diagram 406a). [ZG]
406a. V. Alaikov
1.pr Shahmat 1982
11B2S1pp4p1Qb4P5PkSB2bR4s3R2K






#2v 10+7
1.Kg2? ~ 2.Rf3#(A), 1... Bd3:(y) 2.Bg3#(C), 1... Bd7:!(x); 1.Kh3? ~ 2.Se6#(B), 1... Bd7:(x) 2.Bg3#(C), 1... Bd3:!(y); 1.Se5! ~ 2.Sg6:#, 1... Bd7:(x) 2.Rf3#(A), 1... Bd3:(y) 2.Se6#(B), (1... Ke5: 2.Bg3#, 1... Be5: 2.Qd2#)

407. Pascal Pasture
France
9pSp1Kb4Qp3qp1p2ps1S1k7P1R4R8s






#2 7+11
1.Scd5:? ~ 2.Sd~#
1... Qc7,Qb6,Qb4:,Sc3,Se3,Sf4,Sf6,Qa6,Bf8 2.Sc7:,Sb6:,Sb4:,Sc3:,Se3:,Sf4:,Sf6:,Sb6,Se7# (Themes 1 et 2)
1... Be5,ed5 2.Qc5,Qd5:#
1... Qa2!
1.Sbd5:! ~ 2.Sd~#
1... Qc7:,Qb6,Qb4,Sc3,Se3,Sf4,Sf6,Bf8 2.Sc7:,Sb6:,Sb4:,Sc3:,Se3:,Sf4:,Sf6:,Se7# (Themes 1 et 2)
1... Be5,ed5,b4 2.Qc5,Qd5:,Rc4#

Theme 1 "Fleck 1, forme Burckadt": La cle institue au noirs trois menaces de mat. Chaque coup noir les elimine toutes, saul une. L'unique particularite de ce theme consiste en ce que la menace multiple est une menace deactiverte de batterie blanche.
Theme 2 de la "Rosace du Cavalier Blanc": Ce theme est realiee quand les retraits d'un Cavalier Blanc sur les huit cases de sa rosace, constituent autant de mats distincts a autant de defenses instituees pour le coup de cle.[A].

408. Mircea Manolescu
Romania
3r9S3r1p5pP1p5Bks1Q1B9R2p2K2SR2q






#2*v 9+9
1... bc4,dc5 2.Rd2,Bb2#
1.Sd8:? ~ 2.Se6# (= set play), 1... d5!
1.Qe6! ~ 2.Qd5#
1... S~,Sc5: 2.Rd2,Bb2#
1... dc5,bc4 2.Qe5:,Qc4:#
(1... d5 2.Qe5:#)

Ruchlis theme and Black Correction.[A].
The 5th WCCT example of set to actual "Ruchlis". The quoted try 1.Sd8:? is not convincing since white captures the BR on the first move.[ZG]

409. Lars Larsen
Danmark
2RSK4BppR4p1k1p2bb1p2s2P2p3B3S8r






#2vv 8+11
1.Bc6? ~ 2.ba5#
1... dc6 2.Sb7#
1... Se6!
1.Bd5:? ~ 2.Sb7#
1... Bc6 2.ba5#
1... Se6 2.Sf7#
1... Ba6!
1.Sc6! ~ 2.ba5#
1... dc6 2.Rd8#
1... Se6 2.Rd7:#
1... Rc2,Bb4: 2.Sf5,Bb4:#
Interesting and refreshing contents featuring changed mates after 1... dc6/Se6 and interference of BPc7 by two white and one black man.[MV]
A successful combination of pseude "le Grand" and changed mates after both thematic defences.[ZG]

410. John Rice
England
5B1K5R2q3p3r3k5s2SR1p2BPP8rsb1Q1S






#2v... 10+9
1.Bf1? ~ 2.Sed3#, 1... Sf3:!
1.Bb1? ~ 2.Sed3#, 1... Sd2! (2.Qa1:?)
1.Bc2? ~ 2.Sed3#, 1... Sb6 2.Qa1:#, 1... Sb2! (2.Qc3?)
1.Be4? ~ 2.Sed3/Sfd3/Sg6#, 1... Se3:! (2.Qe3:?)
1.Bf5? ~ 2.Sed3#, 1... Rd2! (2.Rg5?)
1.Bg6? ~ 2.Sed3#, 1... Rd5! (2.Sg6?)
1.Bh7! ~ 2.Sed3#
1... Sd2,Sb2,Sb6,Sd6,Se3:,Rd2,Rd5 2.Qa1:,Qc3,Qc7,Bg7,Qe3:,Rg5,Sg6#
This problem shows a now old-fashioned idea much worked by other composers; it may, indeed, be completely amticipated. Where to put the Bd3? If it leaves the b1-h7 diagonal, Black captures on f3 to gain a flight. Staying on the diagonal, it must take care not to provoke self-interference. This is one of those constructions where no unit can be on any other square. Even the WK must be placed so that 1.Sg6+ is not a cook.[A]
Defences 1... Sb2! and 1... Sd2! appear as "bi-Valve" variations and refutations.[ZG]

411. Dragan Stojnic (after and dedicated to M. Mladenovic)
Yugoslavia
12Kp5RpRP2s2kPp1BP3p4P3P2Q5B4S1s






#2v 12+7
1.Qd2? Ke4!
1.Bc2! with 6 to 9 changed mates
An attempt to extend the number of changes succeeded only in quantity, but does not come near to Misha's model with seven-to-six set-actual change (diagram 411a: *1... Sc~,Sf3,Bf5:,f3,fg3,g4,f6 2.Qe4,Sf3,Qf5:,g4,Bg3:,gf4,Sg6#, 1.Qd2:! (~)
1... Sc~,Sf3,Bf5:,f3/fg3,g4,f6,Ke4 2.Qd4,Qe2,Qd5,Qe3,Qf4:,Re6:,Qd4#).[MV]
Although the actual play is richer than the virtual one, the key is agressive. Nevertheless, the non-concurent changes must be appreciated. The impression could be finalized only after looking at the position of preceeding Mladenovic's problem. [ZG]
411a. M. Mladenovic
Politika 21.11.1994
B3S8p4sRb7kPp1K1p2p1S2P3Pp2Qp3B6s






#2* 10+10
*1... Sc~,Sf3,Bf5:,f3,fg3,g4,f6 2.Qe4,Sf3,Qf5:,g4,Bg3:,gf4,Sg6#
1.Qd2:! (~)
1... Sc~,Sf3,Bf5:,f3/fg3,g4,f6,Ke4 2.Qd4,Qe2,Qd5,Qe3,Qf4:,Re6:,Qd4#

412. Lars Larsen
Danmark
1q1br2s3R1pB3Ppk5p1P4ps1B1SQ4pS1b4K1P






#2v 10+12
1.Bf6? ~ 2.Sg5#
1... Bg4: 2.Qg4:#
1... Bf6: 2.Qf6:#
1... Rg8!
1.Sf6! ~ 2.Qh3:#
1... Bh~ 2.Qg4#
1... Bf5 2.Bd5#
1... Se5: 2.Sg5#
A similar try+key matrix as in 409, but despite more material on the board not as rich in content.[MV]
Unthematic try with dull mates and a pair of selfblocks in the solution.[ZG]

413. Mihailo Stojnic
Yugoslavia
s6B2P4Kb1P3RR1QpSPk1p3prSp1b5p8q1B






#2vv 11+11
1.Se2? ~ 2.Se7#, 1... Qh4!
1... c4 2.Sd4:#
(1... Qe2: 2.Rh5:#)
1.Sg2? ~ 2.Se7#, 1... c4!
1... Qh4 2.Sh4:#
(1... Qg2: 2.Rh5:#)
1.Qf1! ~ 2.Se7#
1... Qh4 2.Se2#
1... c4 2.Sg2#
(1... Qf2,Bf1: 2.Rh5:,c8QB#)
Ideal form of Vladimirov theme, with changed mates after non-defeating black thematic defences in both tries.[A]
This is only the second presentation ever of extremely difficult and attractive "Ideal Vladimirov" complex, again by the same talented young author. Unfortunately, the first presentation did not get an adequate and deserved highest tourney distinction (see the award elsewhere in this issue).[MV]
Harmonious exchange of BPc5 and BQh2 in a role of defending and defeating piece in the "Vladimirov" tries. Actual variations have nice shut-off mates.[ZG]

414. Aleksandr Pankratyev
Russia
1s2Q7P1rs3BS1P3p1S2R1bB1k2K1q2pR1p1p2Pr3b






#2v 11+12
1.Sf7? ~ 2.Re5#
1... Sg5 2.Sfg5:#
1... Bc3!
1.Sd3? ~ 2.Re5#
1... Bc3 2.Sdc5:#
1... Sg5!
1.Sd7? ~ 2.Re5#
1... Sg5 2.Sf6#
1... Bc3 2.Sdc5:#
1... Sc6!
1.Sc6? ~ 2.Re5#
1... Sg5 2.S(e)g5:#
1... Bc3 2.S(e)c5:#
1... Sd7!
1.Sg4! ~ 2.Re5#
1... Sg5 2.Sf6#
1... Bc3 2.Re3:#
(1... Sc6,Sd7,Qc3,Re2: 2.Qc6:,Qa8,Bd5,Rf4#)
Multiphase change of mates after 1... Bc3 (4-phase change) and 1... Sg5 (3-phase change since Sd7-f6 and Sg4-f6 is the same mate). Good composition but adds nothing new to often employeed method.[MV]
Very familiar 2+2+1+1 changes after arrivals of WS to different squares.[ZG]

415. Dragan Stojnic
Yugoslavia
6b1P1PKQpp2P7spkp4Rp3S2RBrbsS5P3q






#2 11+12
1.Bd4! ~ 2.Qc5:#
1... Kd4: 2.Rd3:#
1... Qd4: 2.a8Q/B#
1... Rd4: 2.Se3:#
1... Bd4: 2.e4#
1... Sfd4: 2.Qe5:#
1... Sbd4: 2.Qd6#
1... Sd6 2.Qd6:#
1... cd4 2.Rb5:#
1... ed4 2.Qe4#
First realisation of 8-fold WB sacrifice with all different mates. Equalled record of non-checking sacrifices.[A]

416. Vladan Vuckovic
Yugoslavia
3Rb7SP1KBb1SR3r3sQ3P1kPs5p3p3Ppr1B7q






#2*vv 12+11
*1... Qe4: 2.Qe4:#
1.Q~? ~ 2.Sef5#, 1... Sf~!
1.Qf6!? Sf~ 2.Qf2:#, 1... Sfg2!
1.Qg5!!? Sf~ 2.Qe3#, 1... Sfg2!
1.Qg4! ~ 2.Sef5#
1... Sf~,Sd5! 2.Sdf5,Be5:#
1... Se~,Sd7! 2.Sdf5,Sc6#
1... Qe4:+ 2.Sef5#
First version (with 20 pieces) was published in -Sahovski vjesnik- 1947. (see diagram 416a: 1.Qd7! ~,Se~,Sg4,Sd~,Se4 2.Sge6,Sfe6,Sf3,Sfe6,Be5:#) and was commented by Nenad Petrovic as follows: "Black corrections by two BSs in pseudo-Chicco theme". Exactly 50 years after (couldn't find time earlier!) I rotated the board and added three pieces. Now, besides two black correction, I obtained a kind of white correction by BQ (1.Q~?, Qf6!?, Qg5!!?, Qg4!!!). Also, one check appeared in the actual play with changed set. Os it worth those 15% added pieces?[A]
416a. Vladan Vuckovic
Sahovski vjesnik 1948
6K3B7rsQ1P3pPsRSb3k1S1R3P7P1b6rB






#2 12+8
1.Qd7! ~,Se~,Sg4,Sd~,Se4 2.Sge6,Sfe6,Sf3,Sfe6,Be5:#

417. Milan Velimirovic
Yugoslavia
1B1s1s6P1p1r3kqbR3SSp7p1p1Q3B1K






#2 8+10
1.Qb4! ~ 2.Sf4:#
(1... Q~ 2.ed8S/ef8S/e8QR#)
1... Qe5: 2.e8Q#
1... Qg5 2.ef8S#
1... Qf7 2.ed8S#

1... Qe7: 2.Qe7:#
1... Rd6 2.Qd6:#
Secondary Fleck duel WP v. BQ in three variations.[A]
Impeccable economy and technique of secondary separation. Black halfpin is a clever constructional device rather than the main element.[ZG]

418. Miodrag Radomirovic
Yugoslavia
b1s1S3rk1PR11r1pSQ2KP2B6R






#2 9+6
1.Sb4! ~ 2.Qc7#
(1... c5~ 2.dc8Q/dc8S/d8S#)
1... cd4 2.dc8S#
1... cb4 2.dc8QB#
1... c4 2.d8S#
1... Kb6 2.dc8S#
1... Sd6 2.d8Q#
Secondary Fleck duel WP v. BP in three variations. Task.[A]
Rather strong key (considering the unprovided flight 1... Ka6 in the set play), yet the tematic one. Added promotion mate after 1... Sd6 is a good bonus, but double promotion mate 2.dc8Q/B after 1... cb4 and repeated mate 2.dc8S after 1... cd4 and 1... Kb6 detract a little.[ZG]

419. Milan Velimirovic
Yugoslavia
R5Bk7SP3K1p2P5p2PR7P3Q4PP2B6q






#2 13+4
1.Qh3! ~ 2.Qe5#
(1... Q~ 2.Rd5/Rd6/Rd7/Rdd8/Re4/Rf4/Rg4/Rh4/*Qe5#)
1... Qd5+ 2.Rd5:#
1... Qc6+ 2.Rd6#
1... Qb7 2.Rd7#
1... Qa8: 2.Rd8#
1... Qe4+ 2.Re4:#
1... Qh2/Qf3 2.Rf4#
1... Qh3+ 2.Rg4#
1... Qh4 2.Rh4:#
(1... Kg7 2.Rd7#)
Secondary duel WR v. BQ (8). This is a "relaxed" form of Secondary Fleck theme, where a random move by black thematic piece does not stop the threat (i.e. 1... Q~ produces all 8 thematic battery mates plus threatened mate 2.Qe5).[A]
This artistic interpretation od 8-fold duel between BQ and WR looks as a scheme, but M.V. was the one who found it. Unprovided flight might be a bigger blemish if there wasn't a try 1.Qg3? Kg7!.[ZG]

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