Camerata Ireland’s March 7 concert took place at the New England Conservatory of Music’s Jordan Hall.  Their playing was spot-on, offering an engaging display of carefully shaded dynamics, beautiful tone, and genial enthusiasm. The ensemble, which brings together talented young Irish players from both Northern Ireland and the Republic in the south, was given the second of a 14-concert tour that would take them down the east coast of Florida and across Indiana, Colorado, and Wyoming to Washington and California with their music director, Irish pianist Barry Douglas. After the Mozart, Prokofiev’s brief Andante, Opus 50, for string orchestra was an unusual contrast, its dour lines spun out quite handsomely, its occasional dissonances recalling the composer’s Romeo and Juliet ballet and Adagio movement of Symphony No. 5.  Conductor Douglas then seated himself at a concert grand, and, back to the audience, conducted and played a spirited Mozart Piano Concerto No. 14.  He and his players kept me in mind of just how extraordinary a work this is, its Andantino movement brimming with heart-tugging pathos; it seemed effortlessly wrought.  Some may have felt that Douglas’s playing was a bit “outsized” for his string forces, but there was no belying the elegant turns of mood and the exquisite shading of his playing. After intermission, the ensemble reached a particularly sensitive level of refinement in Sibelius’s rarely heard Romance, Opus 42, for strings.  Of particular note was the burnished tone of the three violas and three cellos – as if one grand instrument were singing in each section. Clearly in their stride, the group concluded the concert with Tchaikovsky’s Serenade for Strings.  Not heard very often in Boston since Koussevitzky’s days with the Boston Symphony, this proved to be the high point of the evening.  The musical heart on the Tchaikovsky’s sleeve is big and generous, but it can be mishandled by well-intentioned but unsubtle musicians, giving mawkish and cloyingly saccharine performances.  Not so here.  Douglas consistently set just the right dynamics in each of the work’s four movements.  With elegantly shaped phrases and limpid, songful tone, Camerata Ireland gave it a truly extraordinary performance. Hearty applause encouraged an encore: Percy Grainger’s elegant and soulful setting of Londonderry Air, played as one might imagine, with deep and authentic pride.