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Item #: SCP-XXXX

Object Class: Safe

Special Containment Procedures: SCP-XXXX is to be kept in standard climate-controlled containment at Site-██ to prevent deterioration of the object. All on-site researchers are to go through a background check for proper memetic inoculation prior to assignment to SCP-XXXX.

Description: SCP-XXXX is a grand piano, built by an unknown company, believed to be based in the United States. It is the same size as non-anomalous pianos of the same make. The object also lacks most identifying marks, such as the brand and manufacturing labels. Although the object appears to be of recent manufacture, carbon dating tests have reported the object to date back to the early nineteenth century. The object’s primary anomalous effect is a cognitohazardous influence (designated SCP-XXXX-1) affecting all humans within a 5 metre radius . Subjects will express a desire to play SCP-XXXX regardless of musical experience, talent, or ability to play the piano, as per the events of SCP-XXXX-2.

SCP-XXXX-2 is the designation given to an anomalous phenomenon affecting persons within SCP-XXXX-1's field of effect. This phenomenon can be separated into four phases.

Phase One: Begins approximately three to four hours after exposure. Affected persons (hereafter SCP-XXXX-A) express a strong desire to play SCP-XXXX, regardless of musical history, experience, or interest. Style of playing varies greatly from person to person, although musical background may have some influence on style.

Phase Two: Begins approximately one week after initial exposure to SCP-XXXX. Instances of SCP-XXXX-A which have received additional exposure to the object continue with the symptoms of Phase One, with the only change being the desire to write music to be played on SCP-XXXX. Many of these instances report someone telling them they "need to follow their lead." This voice is described as belonging to an human male of approximately 50 years of age, speaking in German. This entity has been designated SCP-XXXX-B. Instances of SCP-XXXX-A which have not received additional exposure to the object will request to play SCP-XXXX. If denied further, instances begin to show aggression towards Foundation personnel, most cases reporting that "he needs me to keep playing". When questioned on who was talking to them, subjects became agitated and off-task, pacing back and forth muttering similar statements.

Phase Three: Begins approximately two months after exposure to SCP-XXX. Instances of SCP-XXXX-A who have been allowed continued exposure will begin to report general feelings of dissatisfaction with their written and/or played musical work. Some cases have also reported seeing the figure of an older male humanoid, dressed in clothes traditionally worn during the early 19th century, presumably SCP-XXXX-B. Instances also report abuse by this figure, most notably when a piece of music was played, scored, or notated incorrectly. Methods of abuse show no pattern, but has never resulted in anything more than minor bruises and scars. Instances who have been denied further exposure will begin reporting dissatisfaction with being unable to play the piano and, by extension, write music for it. It is also worth noting that aggression towards personnel ceases following the initiation of Phase Three.

Phase Four: Begins approximately five months after initial exposure to SCP-XXXX. All instances of SCP-XXXX-A, regardless of their level of exposure, will enter a state of clinical depression. Symptoms are consistent with persons not exposed to SCP-XXXX. Many instances will attempt suicide, stating that they "shouldn't be around if the music isn't good enough," or, less commonly, "Beethoven would be happier without me." SCP-XXXX-A instances in Phase Four can be negotiated with to avoid suicide, and the depression brought on by SCP-XXXX can be treated with standard depression treatment protocols.

Addendum XXXX-1: Interview XXXX-1c

Interviewer: Dr. Krayen
Interviewed: SCP-XXXX-A-7
Foreword: SCP-XXXX-A-7, known as XXXXX Feurriér prior to acquisition by the Foundation, has an extensive background in classical music, having studied the styles of Bach, Mozart, and Pachelbel. SCP-XXXX-A-7 was exposed to SCP-XXXX on 14/10/17, and this interview was conducted after he had entered Phase Two. The following is a transcript of the interview, translated from French.

<Begin Log>

Dr. Krayen: So, M. Feurriér. You appear to have a heavy background in the works of Mozart and Bach.

SCP-XXXX-A-7: Ah, yes. I was raised in a very musical household. My mother used to play Bach's Art of Fugue in my bedroom to help me to sleep as a child.

Dr. Krayen: I see. Is there anything else you can tell us about your musical career?

SCP-XXXX-A-7: Yes, yes. I had always loved music. I admired Beethoven and Mozart like a normal the other children admired those superheroes. When I was seven, I asked my mother for a piano. I eventually studied the works and life of many classical composers.

[Continues for several more minutes.]

Dr. Krayen: Okay, let's move on. Tell me about SCP-XXXX.

SCP-XXXX-A-7: The piano? It was… unnerving at first. Felt like there was more to it than just a piano.

Dr. Krayen: Can you elaborate?

SCP-XXXX-A-7: I mean it felt like it wasn't just a piano. When I sat at it, a chill ran down my spine. It was a little unsettling at first, but once I started playing, I felt at ease. It was exhilarating, just sitting at this piano and playing.

Dr. Krayen: Did anything feel "off" about this piano at any time?

SCP-XXXX-A-7: Only after about a week. I started hearing someone talking to me. It was odd, because he spoke in German, and yet I understood every word. I almost feel like it was the ghost of Beethoven himself, watching over me and guiding me.

Dr. Krayen: What did this entity say?

SCP-XXXX-A-7: He said many things, but I think he kept saying "Repeat after me" and "You're doing well" to me a lot. Tell me, Doctor, when am I going to get to play that piano again?

Dr. Krayen: I'm afraid I'm not sure. Sorry.

SCP-XXXX-A-7: I see. Well, do you need to know anything else?

Dr. Krayen: No. You will be escorted back to your quarters shortly.

<End Log>

Afterword: Following the interview, SCP-XXXX-A-7 was allowed access to SCP-XXXX, and Dr. Krayen noted a shift in SCP-XXXX-A-7's behaviour, believed to be the progression from Phase Two to Phase Three of SCP-XXXX-2.

Addendum XXXX-2: Interview XXXX-2f

Interviewer: Dr. Krayen
Interviewed: SCP-XXXX-A-29
Foreward: SCP-XXXX-A-29, formerly known as XXXXXXX Whitmore, has an extraordinary record in jazz music, having been trained by his father in the ways of John Coltrane and Duke Ellington. SCP-XXXX-A-29 was exposed to SCP-XXXX on 27/11/17, and this interview was performed shortly after exposure.

<Begin Log>

Dr. Krayen: Evening, SCP-XXXX-A-29.

SCP-XXXX-A-29: Evening, doc.

Dr. Krayen: I just have a few questions. Are you alright with that?

SCP-XXXX-A-29: Yeah, go ahead.

Dr. Krayen: Alright. So, what did it feel like to sit at the piano?

SCP-XXXX-A-29: Well, it was an interesting experience at first. As soon as I sat on the stool, I felt a chill run up my spine. Then I felt… connected.

Dr. Krayen: Connected? To what?

SCP-XXXX-A-29: I felt connected to the piano at first, but then I felt like I had this connection to someone else. Someone familiar. I couldn't put my finger on the name, but I saw him for a spilt second when I began to play.

Dr. Krayen: Could you describe this person?

SCP-XXXX-A-29: Yeah, I could try. It was a man, probably in his early seventies, maybe eighties. He had grey hair, and he looked kind of frustrated at something, but that could've just been his face. I don't know. He was wearing some kind of old-timey looking clothes, had a frilly collar and everything.

Dr. Krayen: Did this man say anything to you?

SCP-XXXX-A-29: Yeah, actually. One thing. "Show me what you can do." Pretty sure it was German though. I don't know how I understood it. I just… did.

Dr. Krayen: Thank you, SCP-XXXX-A-29.

<End Log>

Afterword: The description given by SCP-XXXX-A-29 is consistent with the majority of those given by other test subjects exposed to SCP-XXXX. SCP-XXXX-A-29 continued to progress to Phases Two and Three as normal.

Note: Request to expose a researcher to SCP-XXXX in order to interview SCP-XXXX-B directly -Dr. Axom

We have performed over 30 tests with SCP-XXXX, and none of the D-Class we have exposed have been able to interact with SCP-XXXX-B. Denied. -O5-2

Addendum XXXX-3: Incident XXXX-B-1

On 29/12/17, a series of four pieces of sheet music appeared on Dr. Krayen's desk. The music portrayed on the sheets were four of the most famous works by Ludwig von Beethoven in the early nineteenth century. These papers were not anomalous in nature, but instead of having the traditional lyrics below the score, the words were replaced with what is presumed to be a message from SCP-XXXX-B itself. A partial transcript of this message has been included below.

Page 1, Measure 2: I decided to stay to instruct how to play
Page 1, Measure 6: The new "music-makers" are ruining my thoughts
Page 2, Measure 5: The piano I made, from ash and birch, will let me assist those who search
Page 2, Measure 9: If you find me, you have done the world a favour
Page 3, Measure 1: I hope my skills will not be wasted in this age
Page 4, Measure 10: Help me to cleanse my industry