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| Assigned Site | Site Director | Research Head | Assigned Task Force |
| Site-90-A | James Mallard | Louise Carter | Anomaly Research Team Psi-17 ("Sonatas and Interludes") |
The Last Concerto, an early twentieth century oil painting by SCP-3743 associated artist Muhammad Usman, believed to depict an event central to SCP-3743's core tenants.
Special Containment Procedures: Ongoing containment involving SCP-3743 must not restrict its anomalous characteristics at any time. If deemed absolutely nessecery, the 0-5 council has allowed the Foundation to accelerate and support SCP-3743's anomalous inhabitants and functions. Implemented procedures are to follow a veil-covering agenda, through the use of censorship, and misdirection of information related to SCP-3743 and its inhabitants. The region surrounding Mt. Tavener, and by extension SCP-3743 has been declared a restricted area, by declaration jointly issued by the Foundation and Scottish State. Establishment of a new Foundation operated site, 90-A, to be built at Mt. Tavener's treeline. If nessecery, a cover story stating that Site-90, and by extension the restricted zone, is being used for studying ecological development at high altitudes. Satellite imagery and aircraft flyovers near SCP-3743 and Mt. Tavener are prohibited, with the same cover story being used.
Due to the immense physical bulk that SCP-3743 Alpha constitutes, the item is unable to be moved from its original point of discovery, and as such containment has taken place at the point of origin. An anechoic chamber1 has been build around SCP-3743, and is maintained by both the Foundation and SCP-3743.
Under no circumstances are members of SCP-XXXX dissalowed to engage in funeral rituals. The Foundation is to supply SCP-XXXX with the recently deceased.
Description: SCP-3743 refers to a complex of religious structures, and by extension its inhabitants. SCP-3743's followers profess a syncretic belief form of contemporary Islam, most notably avoiding aniconism2within associated art and materials. SCP-3743 adherents follow a cultural and progressive reading of Islam, and practice a form of melodic-thaumaturgical rituals and studies. SCP-3743's interpretation of Islam makes explicit understanding that music is the highest form of human achievement, and is the closest way of communication and closeness with Allah.
An SCP-3743 scholar studying the first movement of Vasily Zolotarev's Symphony No. 1. (Dated to 1936.)
SCP-3743 is partially built into Mt. Tavener, with housing and community services located within a subterranean section of the complex. The main portion of SCP-3743, a large domed structure, is build above ground, modelled after Jerusalem's dome of the rock. The structure, the holiest place within the temple, was designed to allow maximum acoustics for performance and review. Circling the performance hall are a group of adjustable velour curtains and banners, able to be moved through an articulate pulley system. Surrounding the remains of the original temple is an expansive garden, and gravesite, which in turn is populated by flocks of songbirds.
Localized within the center of the temple space is an anechoic chamber housing an immense, mechanical device artificially resembling a bugle or simple horn. While weighing approximately 3.2 tonnes, the instrument is believed to be capable of producing both sound and actual music, as evidenced by construction closely following that of an actual bugle. The instrument, designated as SCP-3743-Alpha by the Foundation, is called domilasol de sisisolmi by the scholars, with the phrase untranslated.
Addendum No. 1: History and Rituals
SCP-XXXX's first contact with the Foundation, and by extension, the outside world, can be traced back to as far as the mid 20th century. The Italian Italian para-archeologist and occultist Michelangelo Sandoval came into contact with SCP-XXXX scholars at the base of Mt. Tavener, following an investigation into ruins at the base of the mountain. Sandoval was welcomed by the group, were he later copied the history of the group following a ritual sung in Sprechgesang.3
The scholars told me about an old man named Ahmed, who had been in England for some time. It was late July, almost time for the Hajj, but he was a poor man who hadn't been able to afford travel to Mecca. Even if he could, the trip there would likely kill him, not to mention hiking across the Arabian badlands.#
And so, one night, after the last prayer, he had left his home holding only his violin, and ney and began hiking to the top of Mt. Tavener. He eventually made it to the very top of the mountain's summit, as dawn approached. He was exhausted, barely able to speak, or stand, but he took his violin, high into the air, and blew his Ney into the morning sunlight. He spoke to Allah, and spoke the words of Kazi Nazrul Islam; I am the mighty roar of Israfil's bugle, and played his violin until Death took him only a few short minutes after. Allah supposedly had been so moved by Ahmed's devotion, that the temple remains of the first structures on Mt. Tavener began to rise, forming a great mosque in the remains of the rock. Supposedly, an old bugel laid in Ahmed's place, his soul enshrined within, a testament to both Allah and Israfil.
The story is an archetypal tale of how faithfulness and devotion would bring a worthy life and praise to the master above, but I still find myself drawn to the story, and I have a willingness to believe in it, as if there was both an Ahmed and a temple that rose from his grave upon an old mountain far from the homeland. There is an old bugel, heavier then the mountain itself entombed within, and an inscription of that same line, saluting the angel of music. Whose to say that it did not happen, when we were trapped in the old world?
Only Allah, Ahmed and Israfil would have known.
Melodical-thaumaturgical based rituals function as a method to keep SCP-3743 secluded and self-sufficient. Groups of SCP-3743 members are often assigned to perform specific pieces, which are performed when the need arises. As an example, harvest season is typically accelerated through performance of Stravinsky's Rite of Spring. Full performance of the ballet occurs rarely, during periods of crop failure and blight. In general, the first movement after the prelude, Agurs of Spring is instead performed. Due to the complex's geographical location, no natural light occurs during winter months. In counteraction, observant SCP-3743 followers produce a rudimentary form of light and fire through thaumaturgical performances of Gubaidulina's The Canticle of the Sun.4
The main ritual practiced within SCP-XXXX is an elaborate death ceremony practiced by all members within the group, following the death of a composer. During Sandoval's correspondence with the scholars, he was able to observe the death ritual performed for Joseph Achron.5
Four men and two women, all dressed in white and black, slowly carried a coffin info the main room, leading a funeral procession of the entire temple. I'll never forget the coffin- on the center was a carved symbol, a fermata over a rest, over a fortississimo.
The body was gently lifted out of the coffin and placed on the tile floor, clothing gently removed, with every spot cleaned and washed, with graceful care and attention. It was an act of great kindness to the scholars, the Inman told me. There wasn't a dry eye in the center of the room. After the cleaning, I was expecting the final words to have been said, perhaps a large display of public grieving. I hadn't known until after I left that the body was a stranger to them all.
A piano was brought into the middle of the room, as was a violin, next to the body of Joseph Achron. The strangest thing had happened- they began playing! The pianist, a lithe old man with a beard to his knees, began playing the sensitive beginnings of an old Hasidic melody, raising with a high octave. The violinist, a girl of only thirteen, began to struck the bow with great intensity, flowing into a joyful, fevernet cadenza, before slowly fading into a rich, warm, high octave. My music skills and knowledge are limited- I admit to have simply repeated what the scholars later transcribed, but the feelings I had were the same.
As the piece continued, changes occured to the body- it began to fade beneath my eyes, and after the sonata's conclusion, it was gone. I don't know why I didn't scream, or say anything, I was deeply transfixed. A few days later, they brought me to the courtyard, were a gravestone, marked simply with the same fermeta over a rest, over the fortississimo. Achron was gently chiseled. And when one put their ear to the grave, you'd hear the same violin and piano, and the gravestone leaked Tekhelet, with an almost tree beginning to sprout.
I haven't left yet- I will compose with them, and be buried alongside Achron, Sátie and Langaard.
Addendum No. 2: SCP-XXXX Gravesites
SCP-XXXX's graveyard encircles the entirety of the property, and houses approximately ███ composers, and is divided into underground crypts and above ground grave sites. Upon approach of a grave, an auditory and visual anomaly will manifest, and will continue to 'play', regardless of observation. Imagery chosen is generally related to the piece, in the case of programmatic compositions, or relating to abstract imagery associated with the composer's life.
The following is a collected file of important gravesites and memorials discovered within SCP-XXXX.
| Composer | Piece Chosen | Description of Memorial Anomaly |
|---|---|---|
| John Tavener6 | The Last Sleep of the Virgin7 | Upon entering the gravesite, a bed manifests within the center, and is slowly surrounded by water. In the middle of the bed, lies a sleeping nude female figure, whose face is obscured by a thin veil. Its chest rises with each play of the handbells, before becoming still at the piece's conclusion. After approximately a thirty second rest period, a flock of white doves, each holding an olive branch, bursts out of her stomach. The water is drained, and the flock of birds vanish. |
| Morton Feldman8 | Rothko Chapel9 | Unique among other gravesites within SCP-XXXX, physical anomalous manifestations do not occur upon entry, with noticed abnormal effects appearing to be hallucinary in nature. Subjects reported the feeling of levitating above the ground, approximately a meter high. During the levitation, subjects report being blind, and are unable to feel anything, with the sensation supposedly similar to that of a sensory deprivation tank. Subjects present reported a strong feeling of loneliness, combined with a further sense of self representation and betterment. Upon exiting the crypt, subjects claimed to be able to practice self-levitation and moderate forms of telekinesis. Information into these claims are being looked into. |
| Arvo Pärt10 | Spiegel im Spiegel11 | Two mirrors, each approximately a meter wide, manifest in the center of the gravesite, perpendicular to each other. One mirror, when looked into, shows a pastoral scene of shepherds, sheep and harvest, while the other shows a modern city center with buses, cars and pedestrians walking back and forth. Both images are reflected within each other, leading to the appearance of sheep in the city, and pedestrians and heavy traffic in the countryside. |
| Anis Fuleihan12 | Pastoral (Theremin Concerto)13 | Two entities, with only the outlines visible, manifest in the center of the gravesite. One appears to be female, while the other male. Both of the individual's outlines resemble radio-static or white noise. For the duration of the piece, both entities begin to dance in a waltz, matching with the Theremin played in the piece. At the movement's ending, the male figure attempts to kiss or embrace the female figure, and as the second entity refuses, both disapear. |
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