von Mark Kirtley
Teil 1, Probleemblad 1999, Einleitung
Unter den Vierzügern ist die klassische №1
meine Wahl für die trickreichste Aufgabe, die ich bisher gesehen habe.
And a lot more chicanery can be packed into 7 Zügen, as with the new
№3 shows a contrast between who captures whom,
and how. Henrik admits that having the two Lösungen start with the same
move is a flaw, but I believe any composer would find it hard to improve
on this attractive setting.
Note the symmetrical position in №4. The stipulation
does not tell us the number of Zügen needed to reach the position, and
for good reason - the exact number is part of the theme!
A nice surprise is found in each of the next four examples: no move
in the first solution is repeated in the second! The first of these,
№5, also has a "pawn-step echo": the number
of steps (one or two) made by the pawn on white's opening move is immediately
matched both times by a black pawn. Both Gianni and I spent late hours
looking for ways to show this effect, not knowing that Gerd had already
done it. №6 shows a "pawn-step anti-echo".
№7 and №8 have the
artistic touch that all remaining units are at home, and no Zügen are
repeated between Lösungen, even if you define a move only by its arrival
№9 and №10 are an
interesting pair. In №9 the white queen and
white queen's bishop are innocent and offer themselves for capture,
in contrasting ways, while in №10 they get away
with murder. №9 also has a pawn-step echo.
What sort of circuits are possible in a shorty? In
№11 and №12 the circuiting
line-pieces perform uninterrupted 3-point rounds without making a capture.
These circuits are tempo-treks, since the featured Zügen could just
as well all be passed, were passing allowed in chess.
In №13, Satoshi gives a captureless circuit
performed by a knight, using clearance instead of tempo as a motivation.
What about promotions? One way, although not the only way, to show a
phoenix-Pronkin within seven Zügen is by making room for the promotee
imposter by capturing the unpromoted piece at its home. This is done
elegantly in №14, with the capturer returning
to its own home. And in №15, Michel finds a
way to -double- the Pronkin theme. Finally, in №16
the Ceriani-Frolkin theme is doubled.