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What is a Chess Problem?
Peter's Problem World with FIDE Master of Chess Composition Peter Wong

In this column Peter provides help with words or phrases that have special meaning in the field of chess composition.  These words and terms appear in the form of a pop-up box containing a short explanation and possibly a link to an explanatory page or example elsewhere.  Click on the words "pop-up box" in the last sentence to try it out!

The best games of chess are considered beautiful.  They are admired, and replayed around the world by enthusiasts for that reason, apart from the practical use of studying such games.  Yet when we play a game, the only real consideration is how to win it, never mind whether the method of winning is beautiful or not.  What if we devise a position specifically to demonstrate a beautiful or artistic chess idea?  That, in fact, is what occurs in the composition of a chess problem.  When you solve such a problem, its composer’s aesthetic intent is revealed in the play of the solution.

So chess problems – also known as chess compositions – are enjoyed on two levels.  On a basic level, they work as challenging puzzles.  You are given a position and an accompanying task, such as “White to play and mate in two moves,” that must be fulfilled.  On a higher level, problems are aesthetic works designed to show an interesting theme – the composition’s main idea.

Lev Loshinsky
The Problemist 1930








White mates in 2

How exactly are themes artistic?  It varies, but important factors include subtlety, elegance, economy, paradox, and unity of play.  The latter concept of unity is especially noteworthy; most good problems have multiple variations that are related to each other in some way, to create a harmonious impression.

Chess problems come in a variety of genres, the most common of which is the directmate.  In this type of problem, White plays first and forces mate in the specified number of moves, against any Black defence.  Only one of White’s first moves is able to achieve this, and the solver’s task is to discover this unique move, called the key.  (Key-moves are signified by ‘!’.)  If another move, unintended by the composer, solves the problem too, that alternative move is called a cook, and the problem becomes unsound.  Such defective problems, however, are rarely seen nowadays (especially in short directmates) because of the practice of computer-testing, which ensures that cooks are eliminated.

Let us consider our first example, 1, a two-mover.  The problem’s stipulation or task is given under the diagram as “Mate in 2”, indicating it’s a directmate and White must mate within two moves.  White begins with 1.Kc2!, after which the threat is 2.Nb3 mate.  Black can parry this threat with various defences, but these moves enable White to mate in other ways.  For example, 1…bxc3 2.Bxc3 – the two moves here, Black’s defence and White’s correct response, constitute a variation.

The main variations of this problem are 1…Bf5+ 2.Ne4, 1…R1g2+ 2.N1e2, and 1...R5g2+ 2.N3e2.  These lines represent the thematic play because they share a number of elements: Black checks, but un-guards a white piece (rook or bishop) that is trained on the black king, allowing White to answer the check by interposing a knight, and discover mate at the same time.

1. Otto Wurzburg
American Chess Bulletin 1942
3rd Hon. Mention








Mate in 2

Such a tactic, in which White stops a check by interposition, and gives check as well with the same move, is known as a cross-check, and its recurring use is the theme of this problem.

Various conventions apply to key-moves in directmates, and knowing them will assist you when solving this type of problem.  The desired feature of subtlety means that keys are very unlikely to be checks.  Keys that capture a piece are almost unheard of, for the same reason, though the capture of a pawn is acceptable.  In contrast to obviously aggressive keys that are frowned upon, keys that apparently weaken White or strengthen Black are viewed as good in the artistic sense.  Though not all directmates are successful in incorporating them, you should keep in mind the possibility of such paradoxical keys.  A perfect illustration is 1, which has an excellent key because it exposes the white king to numerous checks.

Another major consideration when analysing a problem is whether the key creates a threat or sets up a block position.  The former is already exemplified by 1, a threat-problem.  In a block-problem, the key carries no threat but is a waiting move that puts Black in zugzwang.  In such a position, every possible move by Black entails a weakness, which is exploitable by White because Black is compelled to move.

Problem 2 is an example.  Its key 1.c5! doesn’t threaten an immediate mate, but all moves by the black knight commit some kind of error that allows a mating reply.  The variations 1…Nd4 2.Rxd4, 1…Nf4 2.Rxf4, 1...Ng5 2.Rxg5, and 1…Ng7 2.Nxg7 are similar – White discovers check and captures the knight to stop it from interfering with the bishop mate.  1...Nxc5 2.Rc4 and 1…Nxf8 2.Rg8 see the white rook pinning the knight, to prevent its return to e6.  In the remaining two lines, 1…Nc7 2.b7 and 1…Nd8 2.Nd6, the errors committed by the knight are called self-blocks: a black piece obstructs a square next to the black king, freeing a white piece that was guarding it to give mate.

When a black knight makes its maximum number of eight moves in a problem and induces eight different white responses, as here, the knight-wheel theme is produced.

2. William Shinkman
The Power of the Pieces 1976








Mate in 2

Looking at the problems in this article, you may be struck by how the positions seem “artificial” and far removed from an actual game of chess.  That only highlights how problem compositions are a field distinct from the competitive game and also from game-position problem exercises.  Chess compositions are constructed in accordance with their own principles.  A particularly important one of such principles is economy of force, which holds that for any given idea shown in a problem, the number of pieces used should be minimized, and that every piece should serve to bring about that idea or to ensure soundness.  That the resulting problem positions do not resemble game situations is regarded as irrelevant.  Nevertheless, another convention of problems links them directly to the game.  Problem positions are required to be legal, i.e. they could have arisen from the opening array, however unlikely the players’ moves may have been in reaching these positions.

3. Charles Ouellet
The Problemist 1987








Mate in 2

A pawn on its starting rank has the potential to make four different moves – two forward steps, and two captures.  If a white pawn plays each of these four moves in turn during the course of a problem’s solution, the albino theme is shown.

Problem 3, using only eight pieces, is a very economical demonstration.  It is solved by a waiting move, 1.Rbb5!, after which the black rook has to release the white pawn.  1…Rb3 2.cxb3, 1…Rd3 2.cxd3, 1…Rxc5 2.c4, and 1…Rc4 (or to e3, etc.) 2.c3.

There is also by-play, i.e. non-thematic or secondary variation(s): 1…Rxc2+ 2.Bxc2.

 
Problem 4 has rich play involving pins and unpins.  The white queen has the black queen pinned, and the latter in turn is pinning the white bishop, which could otherwise mate on d4 or g5.  The key is 1.Qe7!, threatening 2.Qc5.  Each move by the black queen defeats the threat, but also unpins the white bishop, hence 1…Qxe7 2.Bd4 and 1…Qe5 2.Bg5.  After 1…Qe4, however, neither bishop mate works because the black queen has shut off the white rook’s guard of d4.  But this defence permits 2.Rg3, because the pinned queen has also cut off the black bishop’s access to f3.

Two further thematic variations are 1…d6 2.Qa7 and 1…d5 2.Qa3.  In each case the black pawn interferes with the black queen’s control of a defensive line, enabling the white queen to unpin its counterpart with immunity in the mate.

4. Alain White (version by R. Cabral)
Good Companions 1918
1st Prize








Mate in 2

In three-movers, White starts with the customary key, and after the black defences White proceeds with the second move continuations.  Usually, for each defence there is only one correct White continuation, which – whether by making its own threat or by zugzwang – leads to mate on the third move.

5. Sam Loyd
Leipziger Illustrierte Zeitung 1869
“The Love Chase”








Mate in 3

Problem 5 has a good withdrawal key, drawing the white queen away from the black king: 1.Qf1!

The threat is 2.Qb1 for 3.Qxh7, and if 2…g6, then 3.Qxa1.  After 1…Bb2, the threat 2.Qb1 remains effective, 2…g6 3.Qxb2.

The other main variations follow a similar pattern, requiring the queen to “chase” after the bishop.  1…Bc3 or 1…Bd4 2.Qd3 (3.Qxh7) g6 3.Qxc3 or 3.Qxd4 1…Be5 or 1…Bf6 2.Qf5 (3.Qxh7) g6 3.Qxe5 or 3.Qxf6.

One last defence is 1…g3, aiming to check White, and it is met by 2.Ng6+ hxg6 3.Qh3.

Have a go at solving 6; its solution will be provided next month:

6. Lev Loshinsky
The Problemist 1930








Mate in 2


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