The music of David Moore’s Bing & Ruth has typically resembled cloud systems, ocean waves, swarming shoals of fish. In the spirit of compositions like Terry Riley’s In C and Steve Reich’s Music for 18 Musicians, each of his pieces stirs diminutive patterns into unfathomably vast forces. But over the long sweep of his career, Moore gives the impression of an artist steadily clearing away cobwebs, determined to get at the essence of something. There were 11 players on 2010’s City Lake, his post-classical ensemble’s breakout album, and then seven on 2014’s Tomorrow Was the Golden Age; by 2020’s somber Species, he had stripped his materials down to Farfisa organ, clarinet, and double bass. Moore recently dropped the Bing & Ruth alias for a duo…