I don't have a cello to hand, but the first row looks most natural to me; the others are a bit too red (looking through Chrome web browser on a Mac).
String instruments vary quite a lot in color, and I'm told that this cello was the reddest in the orchestra so it's a reason it looks "too red" :-). It's my own photo and I have the objects at hand so I've been able to tune against the real thing. Actually my own hand-tuned white balance made it a tiny bit redder still, but as the fixed in-camera tungsten preset was so close I used that instead. It should also be said that the lamp is at about 2700K, which is in the lower range of what typical indoor light is, eg the light is redder than in many cases.
It is a little bit messy to match tungsten scene with what you have on screen due to the widely different whitepoint, you can't really have them side by side. I had mine set up behind my back so I turned around, let eyes adapt, remember the colors as good as possible and turned back to the screen, let eyes adapt. I used other objects too and my own hand to include some skin, and I'm rather confident that the match is good.
It would have been better to show a skintone sample. The reason I had a cello in there in the first place is that I got reports from a user which had troubles with string instruments in photos of an orchestra not being red or vibrant enough. That particular problem turned out to be mostly related to setting the appropriate white balance (and using an StdA profile rather than D50), but the new modified CAT also helps, especially the less red instruments.
All that said I think there will be quite varying tastes on how off-white you should make the white balance for simulating the color appearance under tungsten. With the appropriate CAT the inter-color relationships are correct regardless of the whitepoint, so it doesn't matter
that much, and I expect users come to different conclusions on what's the best approach, and it depends a bit on viewing condition. The white balance was tuned in a dark room condition (the only practical when having the real scene in the same room), and when viewing it in a brighter daylight-lit room like I do now I'd say that indeed the warmness is a little overdone and I would probably back off a little, but certainly not all the way back to a pure white.
There is one thing I've thought about related to this, I don't think it's necessary but I'm not 100% settled, and that is if you may want to make a special CAT that lets white be whiter but keeps redness of the saturated colors. That is you could have the cello as red as in the bottom row, but the whites (almost) as white as in the top row. The reason for that kind of twist would be exactly the stuff discussed above, that is when the photo is viewed in bright conditions you may want to make the whites purer, but still not desature/cool the reds-browns. I wouldn't handle that as part of the CAT though, but sort of a special offset white-balance handling.