10 years of Slovak theme (SUV CSZTV) C 31.7.1976

1.Qa1? th. 2.Qxd4#
1...c3 A 2.Bd3#
1...Bc5 B 2.Sxc5#
1...Se3 C 2.Sf2#
1...f5 D 2.Sg5#
1...Sf3!

1.Qa5! th. 2.Qxd5#
1...c3 D 2.Bd3#
1...Bc5 A 2.Sxc5#
1...Se3 B 2.Sf2#
1...f5 C 2.Sg5#

This works speaks for itself and doesn't need special comment. Such convincingly composed twomover not only demonstrates, but also adds to constitution of program criterions of Slovak school that are 10 years old. Perfect construction with placing white king to the only available square shows original set of defence motives: A - interposing (disallowing the threat by closing threat move line), B - direct guarding, C - providing flight by closing white line, D - guarding by opening black line.

1.Ke1? th. 2.Re2#
1...cxd3 A 2.Qxd3#
1...Sf3+ B 2.Rxf3#
1...Bxc2 C 2.Sxc2#
1...Rxh8 D 2.Qxb6#
1...Rxb2!

1.Se6! th. 2.Bd4#
1...cxd3 D 2.Qxd3#
1...Sf3 A 2.Rxf3#
1...Bxc2+ B 2.Sxc2#
1...Rxh8 C 2.Qxb6#

Very nice and very economical composition that gives some impression of Tura threemover theme, it has good organical key, but used set of defence motives is already known. Theme OM-24-44. Defence motives: A - direct guarding, B - checking, C - capturing threat unit, D - providing flight by capture.

1.Qf7? th. 2.Sxe5#
1...Rxd6 A 2.exd6#
1...cxd6 B 2.exd6#
1...Rxc5 C 2.bxc5#
1...bxc5 A 2.bxc5#
1...Qxd2 B 2.Sf5#
1...Bxb3 C 2.Sxb3#
1...fxe4!

1.Rba5! th. 2.Sxe6#
1...Rxd6 C 2.exd6#
1...cxd6 C 2.exd6#
1...Rxc5 A 2.bxc5#
1...bxc5 B 2.bxc5#
1...Qxd2 A 2.Sf5#
1...Bxb3 B 2.Sxb3#

Cyclic change of three defence motives doubled in 6 variations as a task multiplication of basic Slovak theme. Before tourney Hlas Ludu 1974 it was clear utopia. But there are only 4 mates in 6 thematical variations. It is also interesting that this theme can written as a triple reciprocal change of defence motives. Some minor defects (as a dual 1...Sxc5 2.bxc5# and 2.e6#) hinder higher placing. Theme OM-26-63. Defence motives: A - guarding, B - providing flight, C - capturing threat unit.

a) 1.Be6! th. 2.Rxd5#
1...Se5 A 2.R5xf4#
1...Bxf3 B 2.Sxf3#
1...Sxf5 C 2.Sxf5#
1...axb2 D 2.Bxb2#
1...Be3 E 2.Bxe3#

b) 1.Ba6! th. 2.Rxd3#
1...Se5 B 2.R5xf4#
1...Bxf3 C 2.Sxf3#
1...Sxf5 D 2.Sxf5#
1...axb2 E 2.Bxb2#
1...Be3 A 2.Bxe3#

Cyclic change of 5 defence motives, but false twin shows not very lucky conception of composition and that's the only reason for lagging behind the most famous work of Slovak school (Ludovit Lacny, 1st Place 1 WCCT 1973). In this case probably it was better to use narrowing zeroposition. It is honour to composer that I dropped originally intended special distinction. Theme OM-25-55. Defence motives: A - interposing, B - guarding, C - capturing of defence unit, D - providing flight, E - checking. Combination of defence motives A and C in not the lucky one.

1.Qg1? th. 2.Qxd4#
1...Rc6 A 2.Se5#
1...Re4 B 2.Sd6#
1...b2!

1.Qg6? th. 2.Qd3#
1...Re4 C 2.Sd6#
1...Sc3 A 2.Sb2#
1...Sb2!

1.Qe8! th. 2.Qxb5#
1...Sc3 B 2.Sb2#
1...Rc6 C 2.Se5#
Original multiplication of OM-32-33 and OM-22-22 themes (in tries) is powered by geometrically well matched refutations and by white queen keys. Defence motives: A - unpinning, B - guarding, C - interposing.

1.Kxe7? th. 2.Qxd6#
1...b3 A 2.Sc3#
1...Be6 B 2.Qxe6#
1...Qe4+ C 2.Qxe4#
1...Sc5 D 2.Sxf4#
1...Bxd2!

1.Ra5! th. 2.Bxc4#
1...b3 B 2.Sc3#
1...Be6+ C 2.Qxe6#
1...Qe4 D 2.Qxe4#
1...Sc5 A 2.Sxf4#

Position without white pawns in surely factor with strong aesthetics, but bad key doesn't obey the laws of economy. But the HM for such a problem tells a lot about strong concurrence. Theme OM-24-44, defence motives: A - unpinning, B - interposing, C - checking, D - guarding.

a) 1.Qa3! zz
1...R~ 2.Qxc5#
1...Rxc4 A 2.dxc4#
1...Rxd3 B 2.Qxd3#
1...Re4 C 2.dxe4#

b) 1.Kh3! zz
1...R~ 2.Qe5#
1...Rxc4 B 2.dxc4#
1...Rxd3 C 2.Qxd3#
1...Re4 A 2.dxe4#

Cyclic change of secndary defence motives is the consequence of already older argument against my hurried opinion, that with this theme "zugzwang positions are impossible". Pity, that the form of false twin is used and also Sg1 is uneconomical in b) position and 3 pieces on 7th and 8th rows might be probably saved with use of bpb6. Assuming better conception, this field of composing might be considered very forceful.

1.Re7? th. 2.Qd6#
1...Sc6 A 2.Qc6#
1...e5 B 2.Re5#
1...f3 C 2.Se3#
1...Qb3!

1.Sd6! th. 2.Be4#
1...Sc6 B 2.Qc6#
1...e5 C 2.Re5#
1...f3 A 2.Se3#

Very difficult set of defence motives without almost omnipresent motive of direct guarding shows author's effort to achieve content of good quality. Position is legal according to Codex, but position isn't nice although key piece is cleverly used in try. OM-23-33, defence motives: A -interposing, B - guarding by opening black line, C - unpinning.

1.axb5? th. 2.d5#
1...Rd3 A 2.Qxd3#
1...Sd5 B 2.Qxd5#
1...f5 C 2.Sg5#
1...Qd2!

1.Rxh5! th. 2.f5#
1...Rd3 C 2.Qxd3#
1...Sd5 A 2.Qxd5#
1...f5 B 2.Sg5#

Battery threat mates allow realization of rare defence motive of stopping the threat pawn and it might be also called block of square for pawn. It's a pity, that threats are introduced rather cruelly. Theme OM-23-33, defence motives: A - direct guarding, B - stopping of threat pawn, C - guarding by opening black line.

1.c7? th. 2.cxd8S#
1...Ba5 A 2.Sxc5#
1...Rg6 B 2.Bxf5#
1...Sc6 C 2.Qxc6#
1...Sb7!

1.g8S! th. 2.exf6#
1...Ba5 B 2.Sxc5#
1...Rg6 C 2.Bxf5#
1...Sxc6 A 2.Qxc6#

Neat discovery in the field of motivation research lacks consequent analogy due to differect character of threats and as such doesn't fulfill fully one of the Slovak school criterions. The discovery lies in the special motive of leaving the square where threat pawn captures in the threat in variation 1.c7? Sc6 2.Qxc6#, where it is doubled by arguable motivation dual caused by guarding. But construction isn't very satisfying. Theme OM-23-33, defence motives: A - direct guarding, B - guarding by opening black line, C - escaping from pawn capture.