I listen to quite a lot of Organ, keyboard, and Instrumental music of the Renaissance.
Let's start from the earliest: The Buxheimer organ book, and other early Rennaisance/Late Gothic Composers such as Hofhaimer, Paumann, Schlick etc.
Then, you get all this marvelous music from Italy, starting from Andrea Antico to greats such as Frescobaldi, Merula, Gabrieli Family, Monteverdi, Castello, Valentini, Bertali, de Macque (who worked with Gesualdo) et.al., along with their students such as Hassler, Kerll, Schmelzer, or Schütz.
Merula's Ciaconna played by Il Giardino Armonico (Warning - trippy photography with flashing lights)
Valentini's "Enharmonic" sonata in G played by ACRONYM
And then, meanwhile in the North, there are also English, Dutch, and German composers who merge the new, Italianate Baroque style with the traditional Renaissance style - these are Sweelinck, Byrd, Farnaby, Tomkins (and all the other English Virginalists), the Praetorius family, etc., and the many students of Sweelinck (The Amsterdam "Organist maker") such as Scheidt, Scheidemann, Duben, Schildt, along the people associated with these students such as Weckmann, van Noordt, Tunder, etc., eventually cumulating into Buxtehude, Bach, and Bruhns, the masters of this "Northern German school"
Tomkins' "Barafostus' Dreame" from the Fitzwilliam Virginal book played by Maestro Leonhardt on the 1640 "Ahaus" Ruckers harpsichord
Sweelinck's Mein junges Leben hat ein End variations played by J. Lee on the Scherer/Fritsche/Schnitger organ in Hamburg
Scheidt "Canzon super O Nachbar Roland" played by L'Acheron
Related to these people: the English Composers for Viol consorts, such as Lawes, Holborne, Jenkins, etc.
Lawes Sett in F a5 played by Phantasm viol Consort
Oh, and Dowland - and Morley - extraordinary English Lutenists!
Morley "Would you buy a fine dog" Davies & Dunford :lol:
A sort of "Outlier" with influences from England, the Netherlands, France, Italy, and Spain: Peeter Cornet
Verset du Tantum Ergo played by Van de Cauter on a French-style organ by Westenfelder
In France, there was a whole organ school started by Titelouze (who wrote in a conservative Renaissance style). Composers such as Chambonnières (a Harpsichord composer), Louis Couperin, and Froberger (a "Fat German" who traveled everywhere and thus had varied influences) introduced different styles to the school, until it's height at around 1700. L. Couperin and Froberger (Their lives "Spill over" into the 1660's) are probably some of the greatest composers for Harpsichord in the 17th century.
Something by Titelouze - you get the idea
L. Couperin Unmeasured Prelude in d played by Bob van Asperen on the earliest surviving French Harpsichord (from around 1630)
Froberger Suite #6 "Auff der Mayern" played by Bob van Asperen on a Couchet/Blanchet/Taskin harpsichord
At last, getting out of chronological order, the Spanish school.
Cabezón is probably the earliest (and the greatest) member of the Spanish school of composing, which was heavily influenced by the Italian Renaissance style (Cabezón himself made intabulations of works by Josquin and di Lasso)
Cabezón "Diferencias sobre la gallarda milanesa" played by de Rubia on a sweet little Renaissance Claviorganum (Harpsichord + Organ)
There are many other worthy Spanish Rennaisance composers, such as Pablo Bruna, de Heredia, de Arauxo, etc.
Bruna "Tiento de Falsas" played by Suarez on a 1650 organ in Tlacochahuaya, Mexico
Phew!
I apologize for being long-winded, and being very biased towards keyboard music!