I suspect that looking for "non-British music that ties into queer history" is a bit of a tangent from what Zimmer was doing. From his interviews, it seems he was looking for music that expressed otherness and virtuosity. The queer part of the "otherness" doesn't seem to be something he was going for overtly/explicitly, so looking for gay composers wasn't high on his priority list.

Hmmm, yeah. So is what you're suggesting that he wound up using queer themes and resonances almost accidentally, as it were, as another way of signalling otherness? That queerness, if evoked through musical resonances, is as much of a metaphor as Hungarian nationality is?