One sign of mastery is when we can tell the difference between actual and imagined sounds. Sometimes that difference pronounces itself in the words: "I don't like that!" If you stop to think about it, very few players actually imagine dissonances.
As for the pleasure of moving around, is the organization a function of repetition or of immediate response to sounds as they are heard? I don't trust repeated movement because much of my adolescent memorizing was accomplished in combination with muscle memory which I now associate with inattentiveness.
I do treasure the sense of intimacy with the composer.