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Chess problems demand from the composer the same virtues that characterise all worthwhile art: originality, invention, conciseness, harmony, complexity, and splendid insincerity.
- Vladimir Nabokov
Master Class Vol.14 - Vasily Smyslov
Smyslov cultivated a clear positional style and even in sharp tactical positions often relied more on his intuition than on concrete calculation of variations. Let our authors introduce you into the world of Vasily Smyslov.
In mainstream chess discourse, the terms 'chess problem' and 'chess puzzle' are often used interchangeably to refer to chess positions where one has to uncover the best move or a sequence of moves leading to a definite outcome. However, in a strictly technical sense, there is a fundamental difference between the two. A problem is constructed from scratch by a composer to illustrate a striking idea or theme. Its design adheres to certain artistic principles. On the other hand, a puzzle is a more relaxed term that may describe a chess composition but typically refers to tactics derived from actual games.
Sure, a problem has a puzzle element. Outwardly, it presents a position to be solved, such as 'White to play and mate in 2'. On a deeper level, however, it is a work of art that aims to showcase a novel theme in the most elegant way possible. Thus, problems are more than just training exercises for players to enhance their skills. They represent a distinct aspect of chess culture, with literature and history of their own, independent of the practical game. And this is what we aim to explore in the present blog.
Let's get hands-on: I could keep writing about chess problems – what they are and are not – but examples speak louder than words, and our first one, a two-move directmate or a two-mover, should give you a pretty good idea of what a chess problem theme is like.
A directmate is a problem where White plays first and aims to checkmate Black in a specified number of moves against any defence. The terminology is straightforward: a two-move directmate is called a two-mover, a three-move directmate is a three-mover, and any directmate requiring more than three moves is called a more-mover. In the current article, we will focus on two-movers, laying the groundwork for future discussions on three- and more-movers.
Where do we start with a problem like this? The diagram has 21 units, which can seem overwhelming at first! But hold on, even in this chaos, we have a clear target: the black king. We have to mate it in the quickest possible way. And good for us, swarmed by white pieces, it is already in a mating net. The black king has no escape squares. In such a scenario, the trick often is to threaten a mate in one move. With which piece can we do so? It is logical to use the most underutilised unit, the piece most remotely located from the enemy monarch. In this case, it is clearly the bishop on e8, which is begging to be put on the c8-h3 diagonal!
1.Bd7 directly, threatening discovered check and mate by moving the e6 knight on the next move, fails to 1...Rxf7. Therefore, the key should be 1.Ng7!, threatening 2.Bd7# instead and, at the same time, disallowing Rxf7. The symbol "!" implies that this is the only move that solves the problem.
Now, Black has multiple ways to parry the said threat, called defences. But each of these enables White to mate differently. For instance, 1...Ng3 allows 2.Rxg3#. Similarly, 1...Nh4 (Nf4) and 1...Bxf2+ are met with 2.R(x)f4# and 2.Nxf2#, respectively. These two-move sequences constitute what is known as the variations of the solution. The main variations here are 1...Nfe3 2.Qg3#, 1...Nge3 2.Qh4#, 1...e3 2.Qf3#, 1...Rb6 2.Qf5# and 1...d4 2.Qe2#.
Although Black manages to prevent 2.Bd7#, each move frees Qf2 from its pin by cutting off the a7-g1 diagonal. This repeated unpinning of the queen, showcased in no fewer than five distinct variations, is the overriding theme of the problem.
Thus, a theme may be defined as a recurring tactic or geometric pattern that weaves together multiple variations, providing a unifying thread throughout the composition. Another instructive case is presented next.
As in the previous problem, the black monarch is again trapped in a mating net, devoid of any flight squares. Let's begin our investigation by taking stock of the different roles the white units play in the diagram. The two bishops, the knight on b1 and the rook on a5 are all aimed at squares in the enemy king's immediate vicinity. The h3 rook, too, x-rays the c3-square, while the g4-knight is also poised to join the fray. By far, White's queen is the most detached piece from the bK. The key, therefore, must be with the queen. It needs to relocate to a better square.
The solution starts with 1.Qg8!, threatening 2.Qc8#. If Black guards c8 by playing 1...Qxg4, White responds with 2.Nxd2#. And moving the c3-knight randomly, say 1...Ne4/Nb5/Na4, runs into 2.R(x)a4#. But the thematic variations arise when Black captures on d5: 1...Qxd5 2.Nxd2#, 1...Rdxd5 2.Bd3#, 1...Rhxd5 2.Ne5#, 1...Ncxd5 2.Ra4# and 1...Nexd5 2.Rxc3#. The black pieces consecutively get pinned on d5, allowing White various pin-mates. And this precise setup is made possible by placing the queen specifically on g8, rather than on any other square on the eighth rank!
This second problem can be seen as a fascinating antithesis to the first. Loshinky's composition features the unpinning of a white queen in five variations, whereas Karlstrøm's creation showcases consecutive pieces getting pinned by a white queen in five variations! A strong solver develops a 'problem instinct', sensing these subtle patterns and motifs that underlie the position, even before they have found the key move. So, getting a handle on problem themes does double duty: it makes you appreciate the artistry better and helps you solve more efficiently.
When solving chess puzzles (i.e., tactics), we have all been taught to start by looking at checks and captures. However, in composed problems (especially of short length), the solution typically doesn't begin with a check. Occasionally, the first move may be a pawn capture, but the capture of a piece is also super-rare. Why is this the case? Well, in an adversarial problem, more than anything else, what the composer aims to depict is the element of contest between the two sides. An ideal directmate, therefore, would be the one that leaves as many resources as possible to the defending side after the key. A check is too brutal for that and drastically reduces the number of options, and the same goes for a capture that removes a whole piece from the board. However, long more-movers, where the post-key play is sufficiently elaborate, often do start with checks. But even there, a composer will prefer a quiet, subtle key instead of a check if they can.
Needless to say, a good key must not be obvious. And a well-hidden key move is even better if it seems illogical. The best keys appear to weaken White's position and increase Black's possibilities. The following example provides a striking illustration.
We have seen how pinpointing the least optimal piece on the board and finding a way to mobilise it can be a powerful strategy, streamlining our search for candidate moves. In some instances, however, it helps to be more imaginative and expect the unexpected. This problem is a case in point.
The stunning key here is 1.Nc4!, sacrificing the knight on a square where it can be taken in no less than five ways. Given the threat 2.Nb2#, White has to capture on c4, and the five captures lead to five different mates: 1...Kxc4 2.Qb5#, 1...Nxc4 2.Qxb3#, 1...Rxc4 2.Qh7#, 1...Bxc4 2.Qb1# and 1...dxc4 2.Qe4#. The last three variations in particular involve self-block. By occupying c4, Black inadvertently blocks their king's escape route, enabling White to mate.
Narayanan, one of India's preeminent composers, delivers a remarkable key in this early masterpiece.
The rook-bishop battery aimed squarely at the enemy king should immediately catch the solver's attention. In chess composition, a battery refers to a specific arrangement of two pieces, positioned to deliver a discovered check. However, with Black's queen trained on the e4-rook, there is no use firing it immediately.
The astonishing key is 1.Kb6!. This paradoxically exposes the white king to a flurry of checks, but White counters each one by interposing the e5-bishop on the check line, which simultaneously unleashes the e4-rook, mating the black king – a classic example of the cross-check theme: 1...Qb1+ 2.Bb2#, 1...Qg1+ 2.Bd4#, 1...Kf5+ 2.Bd6# and 1...Ke7+ 2.Bf6#. And of course, any other black move runs into 2.Qxd7#, which is precisely the threat the key move creates.
Magical Chess Endgames Vol. 1 & 2 + The magic of chess tactics
In over 4 hours in front of the camera, Karsten Müller presents to you sensations from the world of endgames - partly reaching far beyond standard techniques and rules of thumb - and rounds off with some cases of with own examples.
Having gone through the four examples above, you now likely have a basic sense of chess problems. But you might still wonder: Will solving these positions make me a better player? Well, it will certainly make you a better solver – and isn't that reward enough in itself? In fact, solvers have a competitive landscape all their own, complete with ratings, titles and tournaments! There are also World Champions in chess solving. The most recent one is the Polish phenom Kacper Piorun.
Last year, Kacper won the World Chess Solving Championship for an incredible sixth time. He is also the current Polish and European Champion, on top of his WCSC title! | Photo: Marta Zienkiewicz
To chess players new to problem chess, I am sure the setups above would look bizarre or unnatural. But that is because they operate on principles distinct from the ones that govern practical play. However, it should be mentioned that all these positions are legal. That is, theoretically, it is possible to arrive at them from the initial game array through a legal sequence of moves. Furthermore, it's worth noting that these positions are carefully crafted with economy of force in mind, ensuring every unit serves a specific purpose. The board is stripped of unnecessary material, and each piece or pawn must either actively contribute to the solution or prevent unintended alternatives, known as cooks. The stronger the theme, the better the problem – and achieving it with minimal force makes it even more impressive!
Your thoughts, feedback, and comments on this article are welcome! Please feel free to email the author at chessbaseindiasocial@gmail.com
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