The voicing and/or inversion matters. A 9 and a 2 are the same note, but the more distance between the 2 and the 1, the less dissonance. A Cadd9 has a different feeling than a C9.

Pretty much any chord naming beyond triads and maybe 7ths can often be spelled more ways than one.

I think guitar players (including myself, though I'm more of a guitar banger) think of chords as entities in themselves and the "skill", beyond learning how to make them, is in learning how to make them in other ways, and in embellishing them. I think this is less true of keyboard players. I think they 'think' of chords more correctly as assemblages of notes/intervals played--not just in blocks but also broken up. Chord names are for communication and/or analysis.

Those are over-generalizations, and there's value in both approaches in the differing instruments.

Bernard's question about the "feelings" invoked by these collections of intervals is a great one. If we are creating our own chord progressions, it can be really helpful to assign an emotion or flavor to the various chord types. On guitar, in open position, I'll sometimes play an Fmaj7 instead of an Am because that's the "feeling" I want to convey...wistful over sad...at least that's the way I hear it. The "fingering" is very close on guitar in the open position. That might not mean much to a piano player.

BIAB 2021 Audiophile. Windows 10 64bit. Songwriter, lyricist, composer(?) loving all styles. Some pre-BIAB music from Farfetched Tangmo Band's first CD. https://alonetone.com/tangmo/playlists/close-to-the-ground