Solver's impressions - 2004 - 1

1.Qe8? th. 2.Qe7#, Qxd7#, 1...Sd4!

1.c7? th. 2.c8S#, 1...Bb7!

1.Qg8? th. 2.Se8#, 1...Sd4!

1.Ra5? th. 2.Sc8#, 1...Sc5!

1.e7! th. 2.e8S#
1...Sd4 2.Se8#
1...Sc5 2.Sc8#
1...Sf6 2.Qxh2#

It took me a lot of time to recognize the way the problem works, although main variations are set, prepared. I have noticed tries 1.Qg8? and 1.c7? and I saw also Sh7~ 2.Qxh2 variation. Only after realizing that Sc5 and Sc4 provide flights I found the right key. I wouldn't say there is a Dombrovskis theme shown in the problem, rather, as Ludo Lehen, use to say, there is a "pseudo-Dombrovskis" here with both thematical variations prepared before key.

Emil Klemanic remarked that it had consumed a lot of his time, as he was, from the composer's point of view , trying to realize what the composer wanted to say...

1.Rff3? zz, 1...f4!

1.Rbf3? th. 2.Re1#, 1...Sbc3!

1.Rbb1? th. 2.Rbe1#, 1...Sd4!

1.Sg2? th. 2.Re1#, 1...f4!

1.Bc5? th. 2.Re3#, 1...Sd4!

1.Ba8! zz
1...R~ 2.Sg5#
1...f4 2.Re1#
1...Sb~ 2.Rxb4#
1...Sxd6! 2.Sxd6#
1...Sd4! 2.Re3#

Another pseudo-Dombrovskis. Here I was quite lost as I didn't see mates prepared after Sb5~. When I found them, then everything was quite clear - there was clearly seen pure waiting move. to corner.

1.Bc6? th. 2.Sxd3#, Rxb5#, 1...gxf5!

1.Be6? th. 2.Sxd3#, 1...Qxe6!

1.Bg2? th. 2.Sxd3#,1...Rd1!
1...Rd2 2.Se7#

1.Be4? th. 2.Sxd3#,1...Rd2!
1...Rd1 2.Se7#

1.Sg3? th. 2.Sxd3#,1...Rd1!
1...Rd2 2.Be6#

1.Se3? th. 2.Sxd3#,1...Rd2!
1...Rd1 2.Be6#

1.Se7! th. 2.Sxd3#
1...Rd1 2.Be4#
1...Rg3 2.Bd2#
1...Rd2 2.Bg2#
1...Re3 2.Be1#
(1...Qc6 2.Rxc6#
1...dxc3 2.Qxc3#)

The simplest for solving. Halfbattery and forced closing of 3 black lines guarding the halfbattery line was clear from diagram. Any move by Sf4 or Bd5 threats Sxd3#, and as there is no defence closing bQ line, I was choosing between 1.Be6 and 1.Se7. However, I have quickly found brutal refutation 1.Be6 Qxe6! and thus it was done...