Page 16, first system, fourth measure, first beat: in the eighth-note group of that beat’s right hand, there should be no high A. The notes are just G-A-D-G (from bottom to top). This is a foreshadowing of the motive that blossoms in the last measure of page 21.
Page 21, first system, second measure, first beat: The left hand part is missing a bass clef right before the bar line preceding the second measure. (In that measure, the left hand plays an E-flat and a B-flat before switching to the treble clef.)
Page 22, fourth system, second measure, first beat: The first left hand note should be a B-flat, not the currently misprinted G-flat. (This one should be obvious!)
Page 23, first system, fourth measure (“Allegretto airoso.“), second beat: The G-flat and D-flat in the left hand on this beat should actually be placed on the third beat of this measure, in accordance with the “Poco meno.” on page 24, as well as a recording of de Larrocha performing it accordingly.
Page 96, fifth (last) system, first measure: the right hand is missing an E in the third eighth-note octave-chord. It is filled, just as the rest of them are.
Op. 39 No. 1:
Page 148, first system, second measure: the last G that the right hand plays should instead be a B-flat. The top notes of these last four groups of triplet-sixteenths therefore become consistent with the last measure of page 147; there, said notes move in a downward half-circle of tones (C-Bb-A-Bb), and then two measures later in that sequence, the notes move in an upward half-circle (G-Ab-Bb-Ab).
Op. 39 No. 2:
Page 160, third system, third measure: I wonder if the first note of the left hand there should be a D instead. Some recordings do this.
Op. 39 No. 3:
Page 164, first system, second measure: in the second beat of the left hand, the low G# should instead be an E, to stay consistent with the falling octaves of the subsequent measures.
Page 166, third system, third measure: in the right hand, the first D sixteenth (in beat 2.5) should instead be a C-natural.