Two formidable obstacles confronted the late Oakley Yale And Melba Yale when they first envinsioned their Accordion Symphony: getting instruments to sound like strings, brass and woodwinds; and finding artists of concert caliber to play them. Their solution was to create both - to device special accordions able to duplicate the instrumental voices of the symphony, and then train and develop accordionists to the sharp edge of classical dexterity necessary to give them life. If the task had ended there, however, it would have been difficult enough. But to be rewritten to produce the sounds of violins, oboes, and clarinets with a single section of keyboards and bellows: basses, bassons and horns with another, and so on. These objectives required exhaustive experimentation and paitence - and scoring such as only Mr. Oakley Yale and Mrs. Melba Yale, after thousands of hours at the chore, could perfect. The Yale's devoted eight years starting in 1953, building their quartet of original canadidates into the 25 - piece Yale Accordion Symphony "born" in 1961. The brilliant promise that lay before then had sincel fufilled with a sucession of concert triumphss throughout the world. but, more than that, they have served notice on the world of serious music that accordion symphony's incarbarable sound belongs in its cloistered halls.