The level of practical strength of the Swiss draughts players of those years, for the most part, was not high, but their leaders, being below the Dutch players, successfully competed with the leading French masters. So the appearance of another good Swiss draughts player would not have been something special, if not for one circumstance: the value of A.Kuijken's draughts talent.
A.Kuijken's father was the first violinist of the Basel Symphony Orchestra, and this fact much clarifies in the formation of A.Kuijken's personality. The cultural atmosphere in his family was extremely rich (he himself played the cello in the “family orchestra”). Perfectly speaking several languages, he completed his education in theology in the Netherlands.
His extraordinary draughts abilities manifested themselves already in childhood. In the end 1960s and in the 1970s he was one of the elite European players.
His game was characterized by courage. He willingly went to complicated variants without fear for his opponent: it is worth looking at the games of his match with T.Sijbrands in 1972, in which, despite the loss, A.Kuijken's play deserves the highest estimation.
In draughts composition, he immediately made a name for himself by winning the competition of the French federation in 1963. In the 1970s he was less productive, but since the 1980s A.Kuijken regularly publishes his works in the Dutch press. In competitions he won the title of International Grandmaster of Problematic.
A.Kuijken's style in problematic was formed in his first works and has not changed since then. His altar was “Bound Problematic” (another name for this type of problem is “Forcing-problems”), and his idol was Dutch problemist H.van Meggelen, who put “Bound Problematic” above everything other in the art of the problems composing.
“Bound Problematic” is related to the middle-game, in which the initial positions of problems resemble the positions occurring in practical play, and their inner content complies with the rules applicable to artistic problems; the playing in such problems is “cooperative”. (A.Kuijken himself used the term “Total problems” for this type of problems in his article about H.van Meggelen, published in “Dammen” in September 1989).
If to talk about the content of any problem, composed either in “Bound Problematic” or artistic problems forms, we go beyond formal definitions, and enter in the sphere of emotional perception problems. And, as a rule, “Bound Problematic” has not enough expression, compared with the artistic problems, in the direct contact happens between whites and blacks, appearing in a complex of the capture’s moves. Authors of “Bound Problematic” care about the "practical initial positions" keeping the requirements of the form, but they rarely can fill this form by interesting content.
However, nothing similar can be said about the problems of A.Kuijken. Looking at them, you forget about the form: so organically they combine both capture and non-capture moves of both colors. His findings are delightful, and the natural initial position looks as a diamond in the splendid crown of his problem-solutions. In artistic problems, his great talent as well manifested itself brightly in a pure combinational play, and it’s easy to see having considered his problems presented below.
A.Kuijken had large knowledge in the field of problem’s theory; he published a number of theoretical articles in “Dammen” and “De Problemist”. In 2008 T. Harmsma published a book that contained draughts columns published by A.Kuijken in NRC Handelsblad.
A.Kuijken is gone from our life, and it’s a huge and irreplaceable loss for drafts as a whole and for draughts composition in particular.
Let us recall his creative spirit, which has been preserved forever in his problems.
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1. 25(41) 3(17) 13(47) 13-08(16) 23(2) 14(46) 5+. Concours FFJD-2008.
A completely new introduction to the theme 46/5 Kings. With very original black contra-play in which the black King is involved on its “home” 1-5 horizontal.
2. 23, 43, 17-12(5) 14, 28(11, 12) 22+. Volkskrant, 10.01.1987.
Grace “arabesque” leading to the 06x28 capture, probably, firstly executed in such form.
3. 23(19) 20, 41, 21, 5(33) 10, 30, 40, 6(11) 17(12) 8, 43+. Concours KNDB-2011.
Unexpected and new sacrifice of a White King via the move 05-10.
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4. 30(35) 24(27, A) 22, 33-28, 19, 34, 33, 3(27) 41, 32(36) 21, 49(10/41) 45-40 и т.д.+. A(30) 19(27) 33-28, 22, 34, 33, etc.+. De Problemist, February, 1993.
Original interpretation of L.Springer’s manoeuvre [41, 32], transferred to the left flank of the board.
5. 39-34, 15(26) 21, 1, 7, 2, 44, 43, 18, 9, 10(38) 4(19) 10(24) 15+. De Problemist, June 1991.
Perfectly executed theme of two White Kings sacrificed in the attractive (as for artistic problems) initial position.
6. 36(35) 27, 40(10) 4(21) 22(30) 2(35) 19(44) 39(7) 11(48) 42, 38+. Het Damspel, December 1989.
A so called “Black problem” where the main content consist of black moves and a black combination. But without it the fantastic ending with 42 and 16х38 would not be possible.
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7. 23, 34, 327, 20(38) 29(18) 32(193) 36, 21, 32, 2(40) – E.Zubov, Concours BVLD-1994/95: 11(21) – А.Miedema, De Problemist, April 1993: 22(45) 49-44(11, A) 6(27) 44-39(32) – J.Viergever, De Problemist, August 1988: 31(50) 26(33) H.Kreder, Het Damspel, June 1985: 39(37) – P.Maas, Brabants Nieuwsblad, 13.06.1942: 28(42) 37, 37+.
А(50) E.Zubov: Concours KvD-1991/92: 27, 16+.
Concours FMJD-1996.
8. 22, 11, 4, 19, 27(13, A) 21, 49+. A(44) 49, 6+. De Problemist, April 1989.
Peculiar arrangement of a very difficult theme, firstly demonstrated by E.Zubov.
9. 11, 38х27, 29, 34, 17(12) 8, 29 (18) J. Leushuis, 1974: 23, 39(10) 35(14) 34, 44+. Concours Lietuva-2008.
One of the rare examples of A.Kuijken problems, in which he does not apply the norms of “Bound problematic”, instead he completely adheres to the principles of artistic problems.
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10. 49-44, 38, 41, 32, 28, 43-39, 21, 39, 8, 17, 49+. Dam Eldorado, 05.1987.
Wonderful demonstration of known earlier manoeuvres, the move 21 does impress specially.
11. 34, 44, 12, 41(36) 17, 21(41) 37, 11(27) 2, 30, 49 – H,van Alphen, Het Damspel, 11-1954: (32, a) 21(40) –J.Mertens, Het Damspel, 15.04.37: 17(45) 26-21+. a(40) 35(32) etc.+. Concours Lietuva-2008.
“A performance in three actions” using new combinational play, which leads to a classical endgame-motive.
The example of the highest composing skills.
12. 20, 43-39, 31, 30, 11, 15, 10(27) 5(32, A) 37, 37, 46-41+. A(31) 05-37+.
This problem with new a “Mega-motive” (according to A.Kuijken) was unjustly rejected in the Concours Lietuva-2008. At the MiF-forum I have proven that this was an unjust rejection (see https://minietiud.forum2x2.ru/t1408-topic).
Thus, the present publication is the rehabilitation of this problem.
S.Yushkevitch,
Grandmaster International of Problemism.
(I am grateful Mr A.Schokker for his help in translation.)
