Byrd was an active and influential Teacher. As well as Morley, his pupils included, Peter Philips, Thomas Tomkins and probably Thomas Weelkes, the first two of whom were important contributors to the Elizabethan and Jacobean virginalist school. However, by the time Byrd died in 1623 the English musical landscape was undergoing profound changes. The principal virginalist composers died off in the 1620s (except for Giles Farnaby, who died in 1640, and Thomas Tomkins, who lived on until 1656) and found no real successors. Thomas Morley, Byrd's other major composing pupil, devoted himself to the cultivation of the madrigal, a form in which Byrd himself took little interest. The native tradition of Latin music which Byrd had done so much to keep alive more or less died with him, while consort music underwent a huge change of character at the hands of a brilliant new generation of professional Musicians at the Jacobean and Caroline courts. The Civil War, and the change of taste brought about by the Restoration, created a cultural hiatus which adversely affected the cultivation of Byrd's music together with that of Tudor composers in general. In a small way, it was his Anglican church music which came closest to establishing a continuous tradition, at least in the sense that some of it continued to be performed in choral foundations after the Restoration and into the eighteenth century. Byrd's exceptionally long lifespan meant that he lived into an age in which many of the forms of vocal and instrumental music which he had made his own were beginning to lose their appeal to most Musicians. Despite the efforts of eighteenth- and nineteenth-century antiquarians, the Reversal of this judgement had to wait for the pioneering work of twentieth-century scholars from E. H. Fellowes onwards. In more recent times Joseph Kerman, Oliver Neighbour, Philip Brett, John Harley, Richard Turbet, Alan Brown, Kerry McCarthy, and others have made major contributions to increasing our understanding of Byrd's life and music. In 1999, Davitt Moroney's recording of Byrd's complete keyboard music was released on Hyperion (CDA66551/7; re-issued as CDS44461/7). This recording, which won the 2000 Gramophone Award in the Early Music category and a 2000 Jahrespreis der deutschen Schallplattenkritik, came with a 100-page essay by Moroney on Byrd's keyboard music. In 2010, The Cardinall's Musick under the direction of Andrew Carwood completed their recorded survey of Byrd's Latin church music. This series of thirteen recordings is the first time that all Byrd's Latin music is available on disc.