The 4/4 time signature in this piece is virtually non-existent, so there's no need to worry about time signatures or beats. In the score the author is examining, the second measure is unusually long, containing as many as 13 chords, making it unclear whether bar lines were even present. It is understandable that this prelude lacks measure numbers.

From the point where 16th notes appear, the music starts to resemble 4/4, but even then, some measures still have an inexplicable number of notes.

Regarding the initial 17 chords: if this section were to be divided into two, the first section might extend up to the 9th chord (C# E# G#), with the subsequent chords forming the second section. Looking at the bass line, it gradually ascends from F# (the bass of the first chord) through G#, A, A#, B, B#, C# to reach the 9th chord. It is probable that the 7th chord (B# D# F# A) can be considered the peak point of the first half.

Instead of simply playing through the chords continuously, try dividing them into several cadential sections, identifying the peak point within each section, and establishing a sense of direction towards it.