Jesu, der du meine Seele (Jesus, you who [rescued] my soul),[1] BWV 78, is a church cantata by Johann Sebastian Bach.

The cantata is scored for four vocal soloists, a four-part choir, and a Baroque instrumental ensemble of flauto traverso, two oboes, strings and basso continuo, with a horn in the opening chorus.

Bach achieved expression of contrasting affects in dramatic recitatives, anguish in "contrapuntal density"[2] and accessible arias illustrating hope.

Bach composed Jesu, der du meine Seele in his second year in Leipzig when he wrote an annual cycle of chorale cantatas.

For the 14th Sunday after Trinity, 10 September 1724, he chose the chorale of Johann Rist, "Jesu, der du meine Seele", in 12 stanzas, published in 1641.

[3] Bach structured the cantata in seven movements and scored it for four vocal soloists (soprano, alto, tenor and bass), a four-part choir, and a Baroque instrumental ensemble of a horn (Co) to reinforce the chorale tune in the outer movements, flauto traverso (Ft), two oboes (Ob), two violins (Vl), viola (Va), violone (Vo) and basso continuo, including pipe organ.

Each section builds up from imitative entrances of the choir's lower voices leading to the sopranos singing the hymn tune as a cantus firmus.

A variety of motifs is used in the instrumental and lower vocal parts to express the meaning of the words,[2] following the doctrine of the affections, which stated that specific emotions could be aroused by appropriate musical gestures.

[2][7] The recitative for bass, "Die Wunden, Nägel, Kron und Grab" (The wounds, nails, crown and grave),[1] is accompanied by strings, reminiscent of the vox Christi (voice of Christ) in Bach's St Mathew Passion.

[2] The last aria, also for bass, "Nun du wirst mein Gewissen stillen" (Now you will still my conscience),[1] is similar to a concerto for oboe and the voice.

[2] The closing chorale, "Herr, ich glaube, hilf mir Schwachen, laß mich ja verzagen nicht" (Lord, I believe, help my weakness, let me never despair),[1] sets the original tune for four parts.

[11][12] Choirs singing with one voice per part (OVPP) and ensembles playing period instruments in historically informed performances are shown with a green background.