Unlike the more solid string sound in most film music, Newman's is almost always delicate and glassy - I've used the description many times for his scores, but I can think of no better. This is not to say the score is sterile or cold, there is a superlative mixture of warmth and a touch of melancholy. That combination is one of Newman's other greatest dramatic strengths and always prevents even his most buoyant scores (of which this is one) from becoming maudlin. Little Women is also blessed with an array of wonderful tunes and motifs, whether it be the memorable and surprisingly brassy main theme, introduced in Orchard House or the number of little ideas that Newman works into musical vignettes, notably the delightful scherzos that litter the score, Snowplay and Learning to Forget in particular. There is one break from the gentle mood and that's the pleasingly exuberant variation on the main theme during New York, a resplendent travelling cue, evened out by a quieter final minute.
Under the Umbrella reprises the main theme for a glorious End Title suite, which bookends the album perfectly. The four tracks not by Newman aren't too intrusive, generally being too short to alter the mood greatly. While scores like The Salton Sea and In the Bedroom are Newman at his most creative, they are hard work as a listening experience. I'm not opposed to inventive and modern music, but sometimes the invention ends up missing one of the most important aspects of music and that's to emotionally engage with the listener. On that count, Little Women is one of Newman's most successful efforts and unfailingly delightful.
Rating ~ 
Total Time ~ 37:27