In Amor Fati (2007), Giorgos Koumendakis approaches Cretan music through an abstract orchestral writing without the use of traditional musical instruments. The opening solo lines of the violins refer to "kontylies" documented in the recordings of Swiss musicologist Samuel Baud-Bovy, short musical phrases originally played on a piece of reed between two successive nodes. These phrases have been transferred to music for traditional string instruments (lyra, violin).

The use of three vibraphones in combination with the rhythmic background from the strings represents the uniqueness of the Cretan la(ou)to as a primarily accompanying "percussion" instrument. The melodies of the strings interact with the sounds of the wind instruments like a thiamboli or a mandoura.