5. For Philip Barford, “this kind of device again points to the influence of Haydn. On the other hand, Bach himself had the reputation of being a joker, and it is possible that the influence was reciprocal.” See his The Keyboard Music of C. P. E. Bach (London: Barrie and Rockliff, 1965), 115–116. Which of Haydn’s music Bach can have known in 1780, and how its influence might be perceived, is not offered. And surely there is a distinction to be upheld between the evidence of wit in the music, as an aspect of style, and an allegation as to Bach’s social behavior. The turn to B minor here is in any case dead serious.