Longtime lovers of the show, myself included, have long been aware that The Simpsons would not have been The Simpsons without Clausen. From 1990 to 2017, he was the show’s musical soul, crafting nearly 600 episode scores and conducting a 35-piece orchestra with the precision of a symphonic maestro and the mischief of a stand-up comic. His compositions — spanning jazz riffs, rock anthems, bluesy interludes, and Broadway-style showstoppers — gave the show its emotional depth and comedic bite. Matt Groening, the show’s creator, dubbed him “our secret weapon,” a testament to Clausen’s ability to make every gag land and every tender moment linger. While Danny Elfman penned the iconic theme, Clausen filled each episode with music that could shift from a sultry Tito Puente mambo to a Falco-infused Planet of the Apes musical parody in a single, seamless beat. His scores weren’t just background — they were as vital to Springfield as Marge’s blue beehive or Homer’s “D’oh!”

Born on March 28, 1941, in Minneapolis, Alf Faye Heiberg Clausen grew up in Jamestown, North Dakota, where music was his earliest passion. His mother had him singing for local women’s clubs at age 5, while his father filled their home with orchestral records spinning on the family Victrola, sparking Alf’s love for lush, cinematic sounds. As a boy, he took to the piano, French horn, and double bass, excelling in high school bands and choirs. Clausen enrolled at North Dakota State University to study mechanical engineering. But a summer in New York City, where he fell under the spell of Broadway’s My Fair Lady, changed everything. He switched to music theory, later earning a diploma from Berklee College of Music and immersing himself in the works of composers such as Henry Mancini and Lalo Schifrin.

Clausen’s early career in Los Angeles was a grind. Starting as a music copyist for films such as Planet of the Apes (1968), he worked his way up to arranger, conductor, and composer. By the 1970s, he was the musical director for variety shows such as Donny and Marie, orchestrating for stars including Goldie Hawn. His big break came with Moonlighting, the 1980s dramedy starring Bruce Willis and Cybill Shepherd. Clausen’s jazzy, romantic scores earned him six Emmy nominations, showcasing his knack for blending emotion with flair. He later scored ALF, quipping “no relation” to the furry alien, and films such as Ferris Bueller’s Day Off and Weird Science, proving his versatility across genres.

When The Simpsons came calling in 1990, Clausen was hesitant, fresh off Moonlighting and craving dramatic projects. But Groening’s pitch, that this was a “drama where the characters are drawn,” won him over. Starting with Season 2’s “Treehouse of Horror,” Clausen became the show’s musical backbone, scoring up to 35 cues per episode in a frenetic four-day turnaround. His philosophy was to play the music straight, letting the comedy shine. Whether it was the gospel-tinged “Checkin’ In,” a Betty Ford Clinic parody that won an Emmy in 1998, or the burlesque romp “We Put the Spring in Springfield,” another Emmy in 1997, Clausen’s scores elevated the show’s absurdity into art. His 21 Emmy nominations for The Simpsons, part of a record 30 overall, cemented his status as one of television’s most honored composers.

Clausen’s tenure wasn’t without strife. In 2017, Fox fired him in a cost-cutting move. The decision outraged fans, including me, and collaborators, prompting Clausen to sue Disney, the show’s owner, for age discrimination. The suit settled in 2022, and he retained the title of “composer emeritus,” though his active role waned. Still, his influence endured in Springfield’s soundscape, preserved in countless classic episodes that we never tire of watching.

ALASDAIR MACINTRYRE, 1929-2025

Beyond The Simpsons, Clausen’s big-band album Swing Can Really Hang You Up the Most (2005) showcased his jazz roots, and his five Annie Awards underscored his animation legacy. He saw the orchestra as “another actor,” infusing every note with emotion. His work ethic was tireless, and his creativity was boundless, whether mimicking a Western theme or crafting a Cheers parody for “Flamin’ Moe’s.”

“I’m dead serious about the music,” Clausen once said, “because if you try to make it funny, you dull the gag. But off the clock? I’m probably humming ‘Who Needs the Kwik-E-Mart?’ while dodging my taxes.” That mischievous spirit, paired with his musical genius, ensured that Clausen didn’t just score The Simpsons — he made it sing.

Daniel Ross Goodman is a Washington Examiner contributing writer and the author, most recently, of Soloveitchik’s Children: Irving Greenberg, David Hartman, Jonathan Sacks, and the Future of Jewish Theology in America.