“The most horrible fate ever to strike a composer overtook Smetana at the age of fifty,” writes Smetana's first biographer Teige.1 Despite Dr. Zaufal's exhaustive efforts, employing every known medical intervention of that time to alleviate his suffering, the illness persisted. Concerned friends, urging him to seek assistance abroad, prompted Smetana to consult foreign physicians. In a gesture of support, Countess Elizabeth Kaunitz, Smetana's former pupil, organized a private concert at her palace on February 23, 1875. Many of his aristocratic pupils participated for his benefit.2 Three days earlier, he had completed his symphonic poem Šárka and in a bid to gather additional funds for his trip, held a concert featuring the premiere of Vltava on April 4, 1875.

On April 18, 1875, accompanied by his close friend Václav Juda Novotný (1849– 1922), then editor of Dalibor, Smetana departed from Prague. Originally from Jindřichův Hradec, Novotný came to Prague with the intentions of studying history but was influenced by Ambros to focus on music. He also studied voice with Pivoda, violin with Bennewitz, and theory with Blažek. Novotný composed songs, collected and harmonized folk songs, and translated over a hundred opera libretti from various languages into Czech. Regrettably, he often made drastic adaptations, notably after Smetana's death, when he modified The Brandenburgers, Dalibor, and, most drastically, The Two Widows. Although well-intentioned, his renditions often ventured into the realm of questionable taste. Remaining an unwavering supporter of Smetana, Novotný assumed the role of music critic for Pokrok and later Hlas národa, in addition to his work for Dalibor. Novotný and Smetana often met at musical gatherings hosted by Procházka, and in one reminiscence, Novotný provided a detailed description of Smetana's appearance during that era. According to Novotný, Smetana was short, had long hair slicked straight back, a volatile temperament, and a love for humor.