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Chess composer

A chess composer is an individual who engages in the artistic creation of chess compositions, which are constructed positions on the chessboard accompanied by a stipulation—such as mating in a specified number of moves—and a unique intended solution derived from the game's rules or variants thereof.^[1] These compositions serve as puzzles or studies that highlight tactical ingenuity, strategic depth, or aesthetic beauty, distinct from positions arising in actual play.^[2] Chess composition represents an independent branch of chess activity, emphasizing originality, soundness (absence of unintended solutions or "cooks"), and legality of the position.^[1] The practice of chess composition traces its origins to the earliest Arabic manuscripts on chess from the medieval period, evolving through milestones such as the first international chess tournament in London in 1851, which marked a pivotal moment in the organized development of chess, including the later emergence of international composing contests.^[3] Over centuries, it has developed into diverse genres, including direct-mate problems (where one side forces checkmate), selfmate problems (where one side cooperates to be mated), helpmate problems (mutual cooperation toward checkmate), endgame studies (realistic positions demonstrating wins or draws), and fairy chess (using non-standard pieces or rules).^[1] Notable historical figures include the pioneering American composer Sam Loyd (1841–1911), renowned for innovative puzzles; Russian master Leonid Kubbel (1891–1942), celebrated for complex studies; and Alexey Troitzky (1866–1942), whose endgame compositions remain influential.^[4]^[5]^[2] Governed internationally by the World Federation for Chess Composition (WFCC), chess composition receives formal recognition from the International Chess Federation (FIDE), which awards titles such as FIDE Master, International Master, and Grandmaster for Chess Composition based on achievement in tournaments and publications.^[6]^[7] FIDE organizes events like the World Cup in Composing and the World Congress of Chess Composition, fostering innovation and preserving this art form.^[3] Beyond recreation, composing enhances players' pattern recognition, calculation, and endgame proficiency, with benefits documented in training programs since the mid-20th century Soviet era.^[2]

Fundamentals

Definition and Role

A chess composer is an individual who designs original chess problems or studies, crafting artificial positions on the board to demonstrate specific tactical maneuvers, strategic concepts, or endgame intricacies. These compositions typically consist of a starting position, a stipulation—such as "white to move and mate in three"—and an intended solution that adheres to standard chess rules while highlighting a particular idea or theme.^[1] Unlike over-the-board chess, where players engage in competitive play from the initial setup amid uncertainty and opponent resistance, compositions are pre-arranged puzzles intended for solvers to uncover the composer's creative intent without real-time opposition.^[2] The primary role of chess composers lies in elevating the intellectual and artistic dimensions of chess, fostering creativity, precise calculation, and an appreciation for the game's aesthetic qualities. By constructing positions that isolate and amplify key elements like zugzwang or interference, composers provide invaluable training resources that sharpen players' tactical awareness and endgame proficiency, often influencing practical play in tournaments. Their contributions extend to chess literature, where collections of problems and studies are published in journals and books, serving as enduring references for enthusiasts and professionals alike.^[8] A fundamental distinction exists between chess composition, which emphasizes the invention of idealized scenarios to explore pure chess logic, and game analysis, which dissects positions from actual matches to evaluate strategic choices and errors. For example, a simple "mate in two" problem might present white with a clear path to checkmate, unencumbered by broader game context, encouraging solvers to focus on economical and surprising move sequences. This creative process not only preserves chess's historical innovations but also inspires extensions to the game's rules, such as through fairy chess variants that introduce non-standard pieces or conditions.^[9]

Historical Development

The origins of chess composition date back to 9th-century Arabic and Persian manuscripts, which featured manṣūbāt or positional riddles for teaching endgame strategies, but gaining prominence in Europe through François-André Philidor's seminal work L'Analyse du jeu des Échecs (1749), which included endgame positions serving as precursors to modern studies.^[10]^[11] Philidor's compositions emphasized strategic depth in endings, laying foundational principles for later developments while drawing from earlier European traditions of tactical enigmas.^[10] In the 19th century, during the Romantic era of chess, composition flourished with the establishment of dedicated journals and tournaments, marking a shift toward widespread popularity in both the United States and Europe. The Chess Monthly, launched in 1857 by Daniel Willard Fiske and later co-edited by Paul Morphy, hosted the era's first major problem tournament, won by American composer Sam Loyd, whose ingenious puzzles like strategic mates became hallmarks of the period.^[12] Concurrently, European figures such as Hungarian Otto Bláthy contributed innovative works, including grotesque problems with extended solutions up to 290 moves, fostering international exchange through emerging chess periodicals.^[13] The 20th century saw formalization amid challenges, with the British Chess Problem Society founded in 1918 to promote composition, launching its journal The Problemist in 1926 as a key venue for publishing and analysis.^[14]^[15] The World Wars disrupted communities, scattering composers and limiting publications, yet post-1945 recovery led to institutional growth, including FIDE's creation of the Permanent Commission for Chess Composition in 1956 to standardize judging and albums.^[16] Milestones included the inaugural World Chess Solving Championship in 1977, emphasizing solver engagement, and the evolution of the commission into the independent World Federation for Chess Composition (WFCC) by 2010, building on its 1956 roots. In the modern era since the 1950s, chess composition has globalized through organizations like the World Federation for Chess Composition (WFCC), whose predecessor the Permanent Commission for Chess Composition (PCCC) has been active since 1956 with ongoing congresses, while digital tools from the 1980s—such as early personal computer programs for position verification—transformed creation by enabling rapid testing of complex setups.^[17] Online platforms further democratized access, shifting from print journals to software-aided verification and international contests; as of 2025, the WFCC continues to oversee events like the FIDE World Cup in Composing, receiving hundreds of entries annually.^[6]

Types of Chess Compositions

Tactical Problems

Tactical problems in chess composition are constructed positions in which one side, typically White, is tasked with delivering checkmate to the opponent in a stipulated number of moves, assuming optimal play by the defending side. These problems emphasize forceful, tactical maneuvers rather than strategic development, often featuring artificial setups to highlight specific ideas.^[1] The primary subtypes include directmates, where White moves first and must force mate against Black's best resistance, denoted as #n (mate in n moves), helpmates, where Black moves first and both sides cooperate to deliver mate to Black, denoted as h#n, and selfmates (s#n), in which White moves first and forces Black to deliver checkmate to White in a specified number of moves. Directmates can range from simple two-movers (#2), involving a quiet key move followed by Black's responses leading to mate, to more complex multi-movers (#n with n up to 10 or more), which develop intricate lines of play. Helpmates, by contrast, explore cooperative tactics, often revealing unexpected synergies between the pieces.^[1]^[18] Key elements in tactical problems revolve around thematic devices such as zugzwang, where the defender is compelled into a losing move due to lack of safe options; interference, in which a piece blocks an opponent's line or mobility; and underpromotion, promoting a pawn to a non-queen piece to avoid stalemate or enable a specific mate. Soundness is paramount, requiring the problem to have a unique intended solution without unintended alternatives, known as "cooks," which render the composition invalid; duals (multiple moves at any point) or short solutions are also disqualifying flaws.^[18]^[19] The construction process typically begins with envisioning a key move or central theme, then building the position by adding defenses, counter-defenses, and supporting pieces to ensure the solution unfolds precisely while anticipating and blocking alternative lines. Composers often use software to verify soundness against exhaustive searches for cooks. For a simple two-mover, the focus might be on a single tactical motif like a discovered check, whereas multi-movers require layering multiple threats and variations to maintain strategic depth without excess complexity.^[18] Aesthetic qualities prioritize economy, using the minimal number of pieces necessary to realize the theme without superfluous elements that could introduce cooks; purity, ensuring the theme appears unmarred by irrelevant tactics; and balanced difficulty, challenging solvers through subtlety rather than brute force. These problems serve as shorter, more tactical counterparts to endgame studies, which emphasize positional play in realistic endings.^[18] Judging standards in formal tournaments, such as those organized by the World Federation for Chess Composition (WFCC), evaluate tactical problems for originality, technical correctness, and artistic merit, with fairy conditions (non-standard rules) used sparingly to avoid diluting classical themes. Awards are granted through events like the World Chess Composition Tournament (WCCT) and the World Congress of Chess Composition (WCCC), where entries are ranked as first prizes, honorable mentions, or commendations based on adherence to these criteria.^[1]^[6]

Endgame Studies

Endgame studies are chess compositions featuring a sparse arrangement of pieces on the board, typically presenting a critical position from which one side—often White to move—can force a win or draw through a sequence of natural, logical moves. Unlike tactical puzzles, these studies emphasize realistic endgame scenarios that mimic practical play, with the primary goal of demonstrating a single, intended solution free from unintended alternatives known as "cooks," which would invalidate the composition's soundness.^[20]^[21] Central to endgame studies are positional themes such as domination, where one side restricts an opponent's piece mobility to the point of capture or immobilization; opposition, involving a contest for key squares through corresponding-square maneuvers to gain spatial advantage; and tempo, the strategic gain or loss of a single move to outmaneuver the opponent. A classic illustration is the Saavedra position from 1895, in which White's pawn on the seventh rank faces Black's rook; White wins by underpromoting to a rook rather than a queen, exploiting opposition and tempo to create a stalemate trap for Black, highlighting dilemmas in promotion choices. These themes often culminate in mutual zugzwang, where both sides are forced into disadvantageous moves, underscoring the depth of positional interplay.^[20]^[22] Composing endgame studies presents significant challenges, particularly in crafting mutual try-fail sequences where plausible but incorrect attempts by White are refuted by Black's optimal defense, building tension until the key preparatory move unlocks the win—often extending 20 or more moves deep. Ensuring the absence of cooks requires exhaustive manual testing, a process revolutionized since the early 2000s by endgame tablebases, computerized databases that precalculate all possible outcomes for positions with up to seven pieces, allowing composers to verify long lines for accuracy and eliminate flaws.^[20]^[23] In contrast to tactical problems, endgame studies prioritize instructional value through their resemblance to over-the-board endgames, teaching players advanced concepts like pawn promotion nuances and king activity without artificial constraints. Works such as John Nunn's Understanding Chess Endgames (2009) exemplify this by analyzing select studies to illustrate practical applications, enhancing players' strategic insight beyond mere puzzle-solving. The evolution of endgame studies traces back to 19th-century miniatures—compact compositions with four to seven pieces—that focused on elegant, theoretical wins, as pioneered by figures like Alexei Troitsky. By the 20th century, studies grew in complexity, incorporating longer variations and subtler themes, while modern compositions increasingly leverage computer assistance, including tablebases for validation and engines for idea generation, ensuring unprecedented precision without compromising artistic merit.^[24]

Retrograde and Fairy Chess

Retrograde analysis constitutes a specialized genre within chess composition, wherein solvers must deduce prior moves to establish the legality of a given position, often resolving apparent impossibilities through backward reasoning from the standard starting array. These problems hinge on the principle that every position must be reachable via a sequence of legal moves, incorporating elements such as pawn promotion histories, capture counts, and conditional moves like en passant or castling. For instance, in problems involving en passant captures, the solver must prove that the opponent's pawn advanced two squares on the immediately preceding move, as this right lapses otherwise, thereby validating or invalidating the position's history.^[25]^[26] A prominent theme in retrograde analysis is the shortest proof game (SPG), which requires constructing the minimal number of moves to arrive at the diagrammed position, often incorporating strategic detours to account for piece placements or pawn structures. Constructors employ logical proofs centered on castling rights—determining if kings or rooks have moved based on their positions and the absence of intervening pieces—and pawn configurations, which reveal past captures since pawns cannot retreat or pass one another without promotion or capture. These puzzles challenge deductive reasoning by demanding exhaustive enumeration of possible game histories, appealing to composers for their emphasis on historical reconstruction over forward play. Databases and software like Popeye assist in verifying solutions by simulating piece movements and legal sequences.^[27]^[25] Fairy chess extends composition into imaginative realms by introducing non-standard elements, such as invented pieces, altered boards, or modified rules, thereby transcending orthodox chess constraints to explore novel strategic interactions. Common fairy pieces include the grasshopper, which moves along queen-lines but only by hopping over an adjacent hurdle piece to the next square beyond it, rendering it immobile on an empty board; and the nightrider, which executes any number of consecutive knight leaps in a straight line, invented by Thomas R. Dawson in 1925 as one of the most influential fairy innovations. Rule variants like Circe rebirth stipulate that captured pieces immediately return to their starting squares upon capture, retaining their color but lost if the square is occupied, which can lead to cycles of recapture and profoundly alters tactical dynamics.^[28]^[29]^[30] Subtypes of fairy problems encompass helpmates with series moves (hs#), where one side executes a sequence of moves followed by the opponent's single mating move, often leveraging fairy pieces for intricate cooperation. Composers draw from extensive glossaries and databases cataloging fairy piece movements—such as leapers, riders, and hoppers—to ensure precise definitions and solvability, with tools like WinChloe facilitating construction and testing. The appeal lies in fostering creativity through deductive and fantastical elements, supported by organizations like the World Federation for Chess Composition, which codifies fairy principles in its international guidelines. An illustrative fairy problem might feature a nightrider delivering mate by chaining leaps across the board, exploiting its extended range unavailable in standard chess.^[31]^[1]^[28]

Composition Methods and Schools

Classical School

The Classical School of chess composition, emerging in the late 19th and early 20th centuries, represented a refined approach to problem creation that emphasized strategic depth and aesthetic subtlety, primarily through the efforts of English composers such as Joseph William Abbott and Benjamin Glover Laws. Abbott, active from the 1880s, contributed foundational works like his 1887 collection 121 Chess Problems, which showcased intricate two- to four-move mates with minimalistic setups.^[32] Laws, a prominent figure in the same era, advanced the style with his 1890 book The Two-Move Chess Problem, formalizing techniques for precise, dual-free solutions.^[33] This school built on earlier 19th-century developments, reaching maturation around 1900 and influencing subsequent theorization, notably in Alain C. White's 1912 The Theory of Pawn Promotion, which explored promotion motifs as central to complex endgame studies.^[34] Central principles of the Classical School included logical defenses by Black, quiet key moves by White (often waiting moves that provoked varied responses), and thematic purity, where variations highlighted recurring strategic ideas without superfluous elements. Composers rigorously avoided set plays—pre-key threats that could undermine the problem's fairness—and prioritized economy, using the fewest pieces possible to achieve maximum strategic interplay. This contrasted with earlier "brutal" force tactics, favoring subtlety over direct attacks; for instance, the English variant preferred non-capturing keys to draw out Black's responses.^[11] Key techniques encompassed cycle themes, where motifs like battery formations or interferences repeated across multiple variations, and orthogonal/diagonal transfers, involving piece relocations along perpendicular or slanted lines to echo defenses thematically. These methods ensured problems were not only solvable but intellectually elegant, critiquing overly aggressive compositions for lacking nuance.^[35] The school's influence permeated leading periodicals, dominating the problem sections of the British Chess Magazine from its inception in 1881 onward, where English-style compositions won frequent tours and prizes. It also spurred organizational growth, contributing to the formation of dedicated groups like the British Chess Problem Society in 1918, which fostered collaborative judging and thematic tours among composers.^[36] As a legacy, the Classical School established core criteria for problem merit—such as accuracy, economy, and thematic unity—that informed FIDE's composition titles starting in the late 1950s, promoting global adoption of dual-free, logically sound designs. However, it faced critique for rigidity, with later schools like the New German School in the 1920s decrying its strict avoidance of set plays and quiet keys as overly prescriptive, paving the way for more flexible, strategic evolutions.^[11]

Modern and Strategic Schools

The strategic school of chess composition emerged in the early 20th century as an evolution from earlier Bohemian influences, emphasizing intricate interrelations among variations in multi-move problems rather than linear solutions, with key figures like Franz Palatz contributing to its foundational strategic motifs in the 1920s and 1930s.^[37] Post-World War II, it gained renewed prominence in the 1950s through composers such as Vladimir Pachman, who advanced multi-move problems by integrating strategic depth and thematic complexity, often in three-movers that highlighted patterned defenses and attacks.^[38] This period marked a shift toward problems that rewarded solvers with intellectual surprise through interconnected threats, contrasting the more elaborate constructions of classical approaches. In the 1970s, the modern school developed prominently through the Slovak movement, exemplified by composers like those associated with the Slovak Organisation for Chess Composition (SOKŠ), which emphasized motif changes across phases to create dynamic, evolving solutions in direct-mate problems.^[6] Principles of this school prioritize "anti-ideal" aesthetics—embracing paradox and minimalism over flawless economy—while sparingly incorporating elements like underpromotion or fairy pieces to heighten surprise without unnecessary complexity.^[39] For instance, techniques such as round-trip themes, where a white piece temporarily sacrifices position only to return strengthened, combine with ideal mates featuring reciprocal batteries, where opposing forces mirror threats in a balanced climax.^[40] This approach shifted focus to "task" problems, designed to resolve specific strategic ideas, like a white underpromotion securing victory through paradoxical zugzwang. The integration of computer testing for soundness began in the 1990s, revolutionizing verification; software like Popeye, developed in 1991, allows composers to rigorously check variations for duals and cooks, ensuring problem integrity.^[41] Organizations such as the Permanent Commission for Chess Composition (PCCC, established 1956 and renamed World Federation for Chess Composition or WFCC in 2010) have codified these evolutions through the Codex, standardizing rules for genres and themes while promoting international collaboration via FIDE Albums.^[6] Biennial awards, including the Brian Harley Award for innovative two-movers since the 1970s, recognize strategic ingenuity, often highlighting Commonwealth contributions to modern motifs.^[42] As of 2025, current trends incorporate AI-assisted tools, with systems like Google DeepMind's generative models creating original puzzles that mimic human creativity by optimizing for aesthetic surprise and solvability, as demonstrated in recent studies evaluating AI compositions against grandmaster standards.^[43] These advancements, alongside apps like Lichess for interactive composition and solving, enhance accessibility, enabling broader participation in strategic experimentation while maintaining emphasis on paradoxical minimalism.

Notable Composers

Pioneers and Early Masters

François-André Philidor (1726–1795), a French chess master and composer, is recognized as one of the earliest systematic contributors to chess endgame studies. In his seminal work Analyse du jeu des Échecs (1749), Philidor analyzed complex endgame positions, particularly those involving pawn promotions and king activities, establishing foundational principles for practical play in the final stages of the game.^[44] His emphasis on pawn structure as "the soul of chess" influenced generations of composers by highlighting strategic depth in compositions beyond mere tactics.^[45] Sam Loyd (1841–1911), an American innovator in chess problems, composed over 1,000 such works, blending ingenuity with mathematical elements to create engaging puzzles. He gained fame for the chessboard paradox, an optical illusion demonstrating area discrepancies on an 8x8 grid, and popularized the Eight Queens puzzle, challenging solvers to place eight queens without mutual attacks.^[46] Loyd's book Chess Strategy (1878) compiled numerous tactical compositions, promoting problem-solving as a recreational pursuit and inspiring puzzle books that bridged chess and broader amusements.^[47] Max Lange (1832–1900), a German chess player and composer, focused on tactical brilliancies in his problems, often featuring sharp combinations and sacrifices to showcase dynamic play. His works, including those in Chess Brain-Riddles from the 1880s, emphasized aesthetic mates and strategic motifs, contributing to the evolution of direct-mate problems during the late 19th century.^[48] Lange's compositions highlighted the artistic potential of chess tactics, influencing contemporary journals by providing models for intricate yet solvable challenges.^[49] He is also credited with inventing the helpmate form in 1854.^[50] Otto Bláthy (1860–1939), a Hungarian electrical engineer and prolific problemist, specialized in helpmate compositions, where both sides cooperate to deliver checkmate, amassing over 1,500 such problems. He pioneered long series-movers, including a renowned mate-in-290-moves directmate problem that tested endurance and precision in multi-phase strategies.^[51] Bláthy's innovative use of fairy elements and extended solutions expanded the boundaries of chess composition, fostering interest in cooperative and grotesque problems.^[13] Alexey Troitzky (1866–1942), a Russian composer renowned for endgame studies, authored influential works such as Collection of Chess Studies (1930s), demonstrating wins and draws in realistic positions. His systematic analysis of pawn endgames and rook studies remains a cornerstone, with over 1,000 compositions influencing modern study construction.^[2] Leonid Kubbel (1891–1942), a Russian master celebrated for complex endgame studies, composed around 2,000 problems and studies, often featuring subtle zugzwang and tactical surprises. His works, published in Soviet journals, emphasized soundness and beauty, earning him recognition as a leading figure in early 20th-century composition.^[5] These pioneers collectively established the foundations of modern chess composition by introducing systematic endgame analysis, tactical paradoxes, and cooperative formats, which were disseminated through early journals like Chess Monthly and international tours. Their works, such as Philidor's endgame treatises and Loyd's puzzle collections, not only popularized problem-solving but also shaped the criteria for beauty and originality in chess art during the 19th and early 20th centuries.^[52]

Contemporary Figures

Contemporary chess composers continue to innovate within the art form, building on classical traditions while incorporating modern strategic elements, fairy chess variants, and computational aids. Many have earned the prestigious FIDE Grandmaster title for chess composition, awarded by the World Federation for Chess Composition (WFCC) based on exceptional published works judged in FIDE Albums.^[53] These figures often excel in endgame studies and tactical problems, emphasizing surprise, economy, and aesthetic beauty in their creations. Yochanan Afek, an Israeli composer born in 1952, stands out as one of the most versatile and prolific contemporary artists in the field. Awarded the FIDE Grandmaster title in 2015, Afek has published over 300 endgame studies and more than 100 tactical problems, securing over 120 prizes in international competitions.^[54] His works frequently explore intricate king maneuvers and subtle zugzwang themes, as seen in his studies featured in FIDE Albums, where he demonstrates mastery in blending tactical precision with strategic depth. Afek is unique in holding international titles across five chess disciplines, including composition, solving, and over-the-board play, and he actively contributes to the community through articles and judging roles.^[55] Oleg Pervakov, born in 1960 in Russia, is recognized as one of the foremost living endgame study composers, with the FIDE Grandmaster title conferred in 2005. He has authored over 350 studies since the 1980s, earning multiple first places in the individual World Championship in Composing for Individuals (WCCI), including in the endgame studies section for 2016–2018 and 2022–2024.^[56] Pervakov's compositions are celebrated for their "industrial strength"—complex, multi-phase solutions that unfold over 20-30 moves, often involving rook endgames with unexpected promotions or stalemate motifs. A collection of 100 of his studies from 1983 to 2018 highlights his evolution toward romantic, piece-heavy grotesques that prioritize artistic surprise over minimalism.^[56] As deputy chairman of the Russian Chess Federation's composition commission, he influences the next generation through mentorship and publications.^[57] Marjan Kovačević, a Serbian composer born in 1957, received his FIDE Grandmaster title in 2007 and is notable for his dual expertise in both composing and solving, holding Grandmaster titles in each since 2007 and 1988, respectively.^[53] His contributions include hundreds of problems and studies published in international journals, often featuring strategic play with fairy pieces or retrograde analysis. Elected president of the WFCC in 2022, Kovačević has advanced global composition efforts by organizing events like the World Chess Composing Cup and promoting youth involvement.^[58] His works emphasize logical construction and thematic accuracy, earning consistent acclaim in FIDE selections. Steffen Slumstrup Nielsen, born in 1975 in Denmark, emerged as a leading voice in modern study composition, clinching the 2022 world championship in the category and earning the FIDE Grandmaster title in 2023.^[53] With a distinctive tactical style that favors dynamic piece activity and paradoxical defenses, Nielsen has composed over 200 studies since 2010, many awarded in WFCC tournaments.^[59] His book Endgame Labyrinths (co-authored) showcases labyrinthine solutions derived from real games, blending accessibility with profundity to appeal to both solvers and analysts. Nielsen's rapid rise, from International Master in 2020 to world champion, underscores the vitality of Scandinavian composition schools in the 21st century.^[60]

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Nov 22, 2012 · We conclude our look at the Strategic School of composition, from the book, Secrets of Spectacular Chess by Jonathan Leavitt & David ...
[41]
[PDF] HANDBOOK OF CHESS COMPOSITION
Palatz Franz .................................. 14,00. Palevich Mechislav ........................ 4,50. Palitzsch Friedrich ......................... 0 ...Missing: school | Show results with:school
[42]
BCF Awards - BRITISH CHESS PROBLEM SOCIETY
A series of chess composing tourneys organised, controlled and judged by the BCPS. Details of all the touneys are listed in the table below.Missing: composition | Show results with:composition
[43]
Evaluating AI chess compositions - A study by Google DeepMind
11/1/2025 – A new study by researchers at Google DeepMind explores whether artificial intelligence can exhibit genuine creativity through the composition of ...Missing: tools | Show results with:tools
[44]
https://publishing.cdlib.org/ucpressebooks/view?docId=ft438nb2b6&chunk.id=d0e780&toc.id=d0e780&brand=eschol
[45]
[PDF] CHAPTER 7 SOME FRANCOIS ANDRE DANICAN PHILIDOR ...
Oct 6, 2017 · h... Website 33: Echecs et Stratagie Philidor 'Analyse du jeu des Echecs' ... chess is Pawn promotion, therefore are the Pawns the Soul of ...<|control11|><|separator|>
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Sam Loyd | Chess Puzzles, Mathematical Puzzles & Recreational ...
Sam Loyd (born January 30, 1841, Philadelphia, Pennsylvania, U.S.—died April 10, 1911, New York, New York) was an American puzzle maker who was best known ...
[47]
Chess Strategy: A Treatise Upon the Art of Problem Composition
Contents ; Buildingup Problems. 21 ; Bishops. 35 ; Bifurcations 454886 114 125. 45 ; Crowded Positions. 55 ; Chess Puzzles. 71.
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The Two Dr. Max Langes - Tartajubow On Chess II
Oct 27, 2016 · Dr. Max Lange (August 7, 1832, Magdeburg – December 8, 1899, Leipzig) was a German player and problem composer. Lange attended Grammar school ...
[49]
The chess games of Max Lange
Sep 11, 2025 · He was a player, theoretician and problemist. As a player he was 1st at Dusseldorf in 1862, 1863 and 1864, 1st at Hamburg 1868 and 1st at Aachen ...Missing: tactical brilliancies Brain- Riddles 1880s
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Blathy, Otto 1860-1939 - www.arves.org
Selection of studies and endgames composed by. Otto Titusz Blathy. (Hungary, 11.8.1860 - 26.9.1939). Article about him on Wikipedia and about him career as ...
[51]
Samuel Loyd by Edward Winter - Chess Notes
Sep 7, 2025 · 'The woodcut of Steinitz also features a Loyd composition (number 16 in Sam Loyd and His Chess Problems). The incorrectly turned board is ...
[52]
Grandmasters – WFCC - World Federation for Chess Composition
GRANDMASTERS OF THE FIDE FOR CHESS COMPOSITIONS ; 2015, Yochanan Afek Hubert Gockel John Rice Aleksey Sochnev, Israel Germany Great Britain Russia ; 2016, Yury ...
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Yochanan Afek's chess compositions | ChessBase
Mar 26, 2024 · Yochanan Afek, International Grandmaster of chess composition, has been providing us with articles for decades. He lives in Amsterdam.Missing: contributions | Show results with:contributions
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60 seconds with Yochanan Afek - ChessBase
Mar 3, 2023 · He is the only person to possess international titles at five different facets of chess: International Master, International Grandmaster of ...Missing: contributions | Show results with:contributions
[55]
Depth and Beauty in Pervakov's Endgame Studies - ChessBase
May 6, 2019 · This work is a collection of 100 Pervakov studies composed during the period, 1983-2018. A few are joint compositions with fellow-authors like Karen Sumbatyan, ...
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OLEG PERVAKOV
Apr 8, 2025 · He is the deputy chairman of the Commission for chess composition of the Russian Chess Federation. ... There are several works devoted to Pervakov ...
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President of World Federation for Chess Composition announces ...
Jan 22, 2024 · Marjan Kovacevic, the President of the World Federation for Chess Composition (WFCC), has announced the relocation of the federation's ...
[58]
Giants of Modern Studies - Steffen Nielsen Part I - ChessBase
Jun 16, 2020 · Steffen Nielsen is a Danish chess composer with a unique, highly tactical style, who quickly rose to the top of his field, achieving 8th in the ...Missing: contemporary notable
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World Champion Steffen Nielsen On The Art Of Chess Study ...
Sep 12, 2022 · Steffen Slumstrup Nielsen of Denmark became the new world champion of study composition. In November, he will be officially awarded in Fujairah, UAE.